35. Art Filters and Oil PaintWelcome to One-on-One| 00:00 |
(MUSIC).
| | 00:04 |
Hello.
This is Deke McClelland.
| | 00:05 |
Welcome to the final course in my
four-part series, devoted to your
| | 00:10 |
ultimate mastery of the world's most
powerful image-editing software, which I
| | 00:15 |
call Photoshop CS6 One-on-One Mastery.
Now, as many of you know, One-on-One is
| | 00:22 |
all about project-based learning.
You learn, not by listening to me lecture
| | 00:26 |
you, or by even watching me create pretty
pictures onscreen, but rather by rolling
| | 00:31 |
up your sleeves and creating compelling
projects for yourself.
| | 00:36 |
That way you'll be better prepared to
create your own projects in the future.
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Now this particular course is eight
chapters long.
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I'll start things off by showing you how
to create artistic effects using
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Photoshop's vast and powerful filter set.
Then I'll show you how to stitch together
| | 00:54 |
panoramas and compensate for wide angle
distortion.
| | 00:58 |
You'll learn how to use the puppet warp
command to create an animated movie.
| | 01:02 |
I'll tour you through Photoshop's
extensive video editing capabilities,
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which even permit you to add text
overlays and voiceovers.
| | 01:11 |
I'll introduce you to the wide world of
high dynamic range.
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I'll acquaint you with some little-known
advanced layer tricks, perfect for those
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of you who routinely work in files with
dozens or even hundreds of layers and
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I'll show you how to record time-saving
automated step by step actions.
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The result is a contextualized learning
program.
| | 01:35 |
Photoshop's features make sense because
you apply them to a clearly defined task.
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And you leave each chapter with a real
sense of accomplishment.
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I'll start things off in this chapter, by
showing you how to achieve a series of
| | 01:48 |
highly graphic effects, using a
combination of a Filter gallery, along
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with the Oil paint filter.
Here, let me show you exactly how it
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works.
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| | Collapse this transcript |
| Introducing the Filter Gallery| 00:00 |
In this movie, I'll introduce you to the
filter gallery, which houses most of the
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creative filters inside photo shop.
First let me show you what's going on
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inside this sample file.
I've got this portrait on one layer.
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And then behind that, I have this stone
texture.
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And at the very bottom, I have this lined
paper.
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And all of these images come from the
Fotolia image library, about which, you
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can learn more at fotolia.com/deke.
If you're working along with me make sure
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the Lined Paper layers turned on.
Turn off Stone, and then turn on
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Portrait, you want to also select that
top layer.
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Because we want to apply a filter, we
want to convert the layer to a smart
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object, so go up to the Layer panel fly
out menu and choose Convert to Smart
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Object.
The next step is to go up to the Filter
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menu and choose the Filter Gallery.
Which brings up this enormous dialog box
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that takes up the entire screen.
You've got this big preview over on the
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left hand side and you can just drag it
around in order to pan to a different
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location.
If you want to zoom out, you press
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Control minus or Command minus on a Mac.
Control plus or Command plus will zoom
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in.
If you press the Alt key, or the Option
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key on a Mac, you get the Zoom tool,
which allows you to zoom out.
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And if you press the Ctrl key, or the Cmd
key on a Mac, you get a Zoom tool that
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allows you to zoom in.
Just so you know how to navigate around.
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Now the Filter gallery houses all kinds
of filters, and they're organized into
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these groups in this center section right
here.
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If, for some reason, you don't want to
see this section, then all you have to do
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is click this little icon right there, in
order to make him disappear, and you can
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still access all of the filters from this
big, huge list that, instead of
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organizing the filters in groups, just
lists every single one of the filters
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that's associated with the filter
gallery, in alphabetical order.
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So I could just choose accented edges for
example, in order to switch to it.
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I'm going to go ahead and click this icon
again.
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To bring back the folders so that I can
see these tiny previews.
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And I'm going to switch back to cross
hatch.
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Just because its one of the more
interesting ones.
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Now every single one of these filters has
its own unique set of options.
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For example in this case I can increase
the stroke length.
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In order to further obliterate the image
here or I can back it off if I want to
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see more of the original image so that I
have a little bit of detail I'm working
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with.
You also have the sharpest slider that
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you can crank up if you want to it looks
okay you can get away with high values.
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When the Strength setting is very low.
But notice if I increase the Strength
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setting at all here, then this high
Sharpness value is making a mess of
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things, so I'll go ahead and tone it
down.
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All of the values have different ranges
associated with them, so strength, for
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example only goes from one to two to
three and that's it.
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So my point is, there's nearly 50 filters
associated with the filter gallery and
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they all behave differently.
But one of the more interesting ones
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resides int the texture folder.
And it's this one right here, grain.
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And the reason I find it to be
interesting is because it's a kind of
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noise filter, as you can see.
And it provides all kinds of different
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noise that you can choose from.
So right now, we're looking at regular.
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But I could switch it out to clumps noise
as well.
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In this case, we're just getting color
noise and nothing more, but it's still
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worth knowing it's here.
We've also got this intensity slider,
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that allows you to control the amount of
noise that you're applying.
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If I were to back off the intensity to 0,
I want you to see what's going on with
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contrast here.
If you crank it up you're actually
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cranking up the contrast of the image
along with the noise.
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And if you crank it down you're reduding
the contrast of the image along with the
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noise too.
So just bear that in mind.
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Anyway, I'm going to take this back to 50
which is generally where you want it.
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Show you a couple of other options that
are available to you.
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We have horizontal and vertical.
So for example if I click on horizontal
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noise, I've already got some interesting
effect going on here even when the
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intensity is set to zero, but if I crank
that intensity value upward I start to
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get these horizontal noise patterns as
you can see right there.
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Let's take that to something like, let's
say about 25%.
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And I'll go ahead and click okay in order
to apply this filter to the image.
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Now, all of these filters are liable to
produce more itneresting effects if you
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adjust blend modes.
So in my case, for example, I might just
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change the blend mode for the overall
layer from normal to multiply in order to
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multiply that effect against the lined
notebook paper and we end up with this
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result here.
Let's say you don't like it.
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Let's say you want to switch to a
different filter.
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All you have to do is double-click on
this Filter Gallery item.
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So notice it's not telling me that I
applied the Grain filter.
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That's the kind of stuff you have to
remember, or you have to double-click on
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Filter Gallery in order to find out
exactly which filter you applied.
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I'm going to drag this guy up here, and
this time I'm going to switch over to
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another filter that's up here at the top.
If I twirl open Artistic, it's the very
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first one, Colored Pencil.
Go ahead and select it, and notice that
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that creates a kind of colored pencil
pattern, and I can increase the width of
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my pencil strokes as you can see here, or
I can reduce those strokes.
| | 05:10 |
I can also change the stroke pressure.
What that's going to do is fill in more
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of these pencil lines, so if I reduce the
value, I'm going to get more gray.
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And the luminance of that gray is
determined by this paper brightness
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value.
We'll come back to that in a moment.
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But for now I'll just go ahead and crank
this guy up to, say ten, these values
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should work out well.
And I'll click OK.
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Now if I want to drop out the gray, and
keep the other luminance levels as well
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as the colored pencil lines, then I need
to change the blend mode to one of the
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contrast modes.
Overlay ends up producing a pretty weak
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effect.
So, I'll might switch it out to hard
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light or even crank it all the way up to
Linear light.
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And I'm just playing here, just trying to
get a sense of what kind of effect I'd
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like to achieve.
Now let's say it occurs to me that while
| | 05:57 |
this high contrast effects looks pretty
cool, it is a little bit hot.
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And that only figures because we're
setting these very bright highlights
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against a very bright background.
It's probably a better idea if we can set
| | 06:09 |
this guy against a white background.
That is where the filter effect is
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concerned.
And then we can multiply him into place.
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So what I'll do is double click on filter
gallery, and once again drag this guy up
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so I can see what I'm doing.
You can reduce the paper brightness value
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to zero, which gives you a black
background.
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Or, you can take it all the way up to 50
which gives you a white background.
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So, there's just all kinds of crazy logic
going on inside this dialogue box.
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As I say, 25, the default, is medium
gray.
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Anyway, I'm going to take it up to 50,
because I want to be able to drop out the
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whites with, say, multiplying.
And I might take the Pencil width value
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down as well, to two, and I'll leave the
Stroke pressure set to 10.
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So here's my values; two, 10, and 50, now
I'll click Okay, in order to accept that
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change.
I'll change the blend mode to Multiply,
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in order to achieve this effect, or I
might think, gosh, I'd like to darken it
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up even more still.
So I'll intensify the effect by stepping
| | 07:06 |
it up to Linear burn.
Now I'm pretty fond of this effect, with
| | 07:11 |
one exception.
We're lossing some of our darkest
| | 07:14 |
shadows, in particular, we've got this
brighteness inside of his mouth.
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And this luminescent nostril right here
and I'll show you how to take care of
| | 07:22 |
those problems in the very next movie.
| | 07:25 |
| | Collapse this transcript |
| Modifying Filter Gallery settings| 00:00 |
In this movie, I'll show you how to fill
in the shadows inside of the eyes and the
| | 00:04 |
nose and the mouth using a copy of this
Filter Gallery effect.
| | 00:09 |
So, the first thing I want you to do, if
you're working along with me, is get rid
| | 00:12 |
of this filter mask, because it's just
cluttering things up, by right-clicking
| | 00:15 |
inside that white thumbnail and choosing
Delete Filter Mask.
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You can always recreate the masks later
just by right-clicking on Smart Filters
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and choosing Add Filter Mask.
Then, with the Portrait layer selected,
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press Ctrl+J or Cmd+J on a Mac, to create
a copy of it.
| | 00:33 |
Now, click on the original Portrait
layer, the one below, and then
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double-click on it's Filter Gallery in
order to bring up the Filter Gallery
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dialog box once again.
I'll go ahead and scroll this guy upward
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a little bit so we can keep track of
what's going on.
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Now, what I want to do is create another
version of this colored pencil effect
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that fills in the shadows.
The best place to keep track of things is
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inside the mouth here.
So, the first thing I'm going to do is
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crank the stroke pressure value all the
way up to its maximum of 15.
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Then you want to click inside the Pencil
Width value and press the Up Arrow key in
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order to raise that value in increments
of one.
| | 01:12 |
And at a certain point here, and that
point happens to be a pencil width value
| | 01:16 |
of 12, you'll see these areas of the
mouth fill in.
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The eyes fill in nicely.
We've got a few highlights going on,
| | 01:23 |
which is great.
And the nostrils fill in as well.
| | 01:26 |
So, I'll go ahead and click OK to accept
that effect.
| | 01:30 |
I don't want this much darkness, I just
want to fill in the shadows.
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So, I'll double-click on an empty portion
of this bottom portrait layer in order to
| | 01:37 |
bring up the Layer Style dialog box.
Then you want to drop down to the This
| | 01:42 |
Layer slider bar and drag the white
slider triangle over to about 30.
| | 01:48 |
And that will drop everything but those
dark shadows away.
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And you'll end up with this effect here.
Now the transitions are too sharp, so you
| | 01:57 |
want to press the Alt key or the option
key on the Mac, and drag the right half
| | 02:00 |
of this white triangle over to about 80,
is what I figured out worked well.
| | 02:06 |
Go ahead and click OK in order to accept
that change.
| | 02:10 |
Now, that looks like it's taking care of
all of our problems.
| | 02:14 |
And you can see if I turn a layer off, we
end up with those highlights inside the
| | 02:17 |
shadows.
If I turn the layer on we fill in the
| | 02:20 |
shadows.
That layer by itself, is not enough,
| | 02:22 |
though.
If I turn off the top portrait layer, you
| | 02:25 |
can see that we don't have much in the
way of any effect left in the background
| | 02:28 |
there.
So, we need both of these layers in order
| | 02:32 |
to pull of this effect.
However, if I scroll upward, we've got a
| | 02:35 |
problem inside of the hair.
Notice that little blotch right there
| | 02:39 |
that's showing up now.
It used to be much worse.
| | 02:43 |
If I turn off that bottom portrait layer,
you can see that we have all kinds of
| | 02:46 |
snow up here in the hair, which is not
what I want.
| | 02:49 |
I just want some occasional highlight
brush strokes.
| | 02:52 |
So, I will go ahead and turn on that
bottom portrait layer once again to fill
| | 02:56 |
in that area right there.
You want to double-click on filter
| | 03:00 |
gallery.
The reason I didn't do this in the first
| | 03:02 |
place is because I just want you to see
how flexible this solution is, how we can
| | 03:06 |
change our mind any time we want.
I'll go ahead and scroll that guy up just
| | 03:11 |
a little bit.
And what I've gotta do in order to get
| | 03:14 |
rid of that splotch.
You can see, if I take the Pencil Width
| | 03:17 |
value up to something like 20, the blotch
pretty much goes away.
| | 03:22 |
However, notice this little area of gray
right there.
| | 03:26 |
If I click OK in order to accept my
change, it's still showing up.
| | 03:30 |
And that's because I used the disk layer
slider bar in order to hide all but the
| | 03:34 |
darkest pixels.
So, what I've gotta do is double-click on
| | 03:38 |
filter gallery once again and I'm
going to crank this Pencil Width value
| | 03:40 |
all the way up to its maximum which is
24.
| | 03:43 |
And now that area pretty well fills in
all the way.
| | 03:45 |
Now, I can click OK in order to accept
that change and we have this effect here,
| | 03:50 |
which I think looks great.
And notice, by the way, if I were to turn
| | 03:56 |
off the Filter Gallery for this bottom
layer, so that we were just using
| | 04:00 |
unfiltered version of the portrait, all
of the hair is going to fill in
| | 04:04 |
completely.
And that's not what I want.
| | 04:10 |
I prefer to have these little pencil
strokes of highlight.
| | 04:13 |
Alright, I'll go ahead and press Shift+F
in order to fill the screen with the
| | 04:16 |
image and scroll him up a little bit as
well.
| | 04:20 |
And that, friends, is at least one way to
apply a creative filtering effect and get
| | 04:24 |
the exact results you want.
| | 04:27 |
| | Collapse this transcript |
| Combining multiple Filter Gallery effects| 00:00 |
In this movie I'll show you the best way
to combine multiple effects from the
| | 00:04 |
filter here.
I'm back inside my original sample file,
| | 00:07 |
which means then I need to once again
convert the portrait layer to a smart
| | 00:10 |
object.
Another way to do that, if we have
| | 00:13 |
rectangular mark key tool selected, is to
right click inside the image window and
| | 00:16 |
choose Convert to smart object.
Then go up to the filter menu, and, if
| | 00:20 |
you've been working along with me, you
can just choose the first command filter
| | 00:23 |
gallery.
Or you could just press Ctrl+f, or Cmd+f
| | 00:27 |
on the Mac.
And because you're working with a smart
| | 00:30 |
object, that forces the display of the
filter gallery dialogue box.
| | 00:33 |
I'll go ahead and once again drag this
guy up here a little bit.
| | 00:37 |
And I'm going to switch, to this filter
right here, Underpainting, which allows
| | 00:41 |
me to paint in a kind of texture effect
inside the guy's face.
| | 00:45 |
You'll probably be seeing different
values by default.
| | 00:48 |
This guy should be cranked up to
something around five, I'm not sure
| | 00:51 |
exactly what, and you might have a higher
Texture Coverage value as well.
| | 00:56 |
But, the effect I'm going for, I don't
want a bunch of globs inside of his face
| | 01:00 |
here, because that way we're losing a lot
of detail.
| | 01:03 |
So I'm going to take the brush size value
down to zero to preserve as much as the
| | 01:07 |
original detail as possible.
And I'll take the Texture Coverage down
| | 01:12 |
as well to just two, as you see here.
The texture is set to Canvas by default,
| | 01:17 |
but you can select one of the other ones
if you like.
| | 01:21 |
You can switch over to Burlap, for
example, in order to get this effect
| | 01:23 |
here.
But I like Canvas, so we'll go ahead and
| | 01:26 |
select it.
Notice that the scale of this texture is
| | 01:30 |
set to 100%.
I'm going to leave it there because it
| | 01:33 |
well suits the image.
And you can crank this relief value up if
| | 01:36 |
you want to get some really tragic
results like we're seeing here.
| | 01:41 |
I recommend that you keep this value
down.
| | 01:44 |
And, of course, you can see that on
screen.
| | 01:45 |
So I'll just take it down to its
original, which was four.
| | 01:48 |
The light is coming down from the top,
and that's it.
| | 01:52 |
But it strikes me that now that I've
added some texture around the details
| | 01:55 |
inside the image, that is around the
areas of rapid luminance transition, just
| | 01:59 |
as when you're sharpening an image, I
want to now turn around and lay a texture
| | 02:03 |
across the entire image, so that we have
consistency.
| | 02:09 |
And you do that using a filter that's in
the Texture folder, this file one right
| | 02:13 |
here, Texturizer, but if I was to click
on it right now I'd switch from
| | 02:16 |
Underpainting to Texturizer, which is not
what I want.
| | 02:21 |
Instead I want to add that filter.
So I'll go ahead and click on this little
| | 02:25 |
page icon.
Down here on the bottom right corner of
| | 02:28 |
the dialogue box.
That goes ahead and creates another
| | 02:30 |
instance of underpainting.
And now I can click on Texturizer to
| | 02:33 |
switch off that filter.
And I end up with this filter here.
| | 02:37 |
Now by default you're going to see these
settings.
| | 02:39 |
I'll just go ahead and select them so
that you and I are in synch here.
| | 02:43 |
This is not what I want of course.
I want the scaling value to match the one
| | 02:47 |
that I applied with underpainting, so
I'll take this guy down to 100%.
| | 02:51 |
A relief value of four is just fine,
because that matches, and I'll change the
| | 02:55 |
light to top, because again, that's what
I applied with underpainting.
| | 03:00 |
Now you may figure at this point that the
texturizer filter is pretty much
| | 03:03 |
overwriting anything that we had with
underpainting.
| | 03:06 |
But that's not true, and if you want to
test that out, you can just turn on and
| | 03:09 |
off these eyeballs.
So for example, keep an eye on this guy's
| | 03:13 |
eye.
If I turn off underpainting, you can see
| | 03:15 |
that it becomes much more sharply
focused.
| | 03:18 |
So, we have the texture woven into the
image, but we don't really have the image
| | 03:23 |
woven into the texture, unless we also
apply the underpainting filter.
| | 03:28 |
But, what if I wanted to modify the
opacity of the texturizer effect, or its
| | 03:32 |
blend mode for that matter?
Well, that's not something I can do here
| | 03:38 |
inside the filter gallery dialogue box.
I have to do that out in the Layers
| | 03:42 |
panel.
So I'm just going to keep in mind these
| | 03:45 |
are the settings I want, and I'm going to
make sure Texturizer is selected, and
| | 03:48 |
then I'll click on this little trash can
icon to get rid of it so that we have
| | 03:51 |
just the underpainting effect.
Then click Okay in order to accept that
| | 03:56 |
change.
I'm also going to right-click inside this
| | 03:59 |
Filter Mask, and choose Delete Filter
Mask just to give myself more room inside
| | 04:02 |
in the Layers panel.
And now, I'm going to reapply that
| | 04:06 |
Texturizer effect, by pressing Ctrl+F, or
Cmd+F on a Mac, to return to the filter
| | 04:11 |
gallery dialog box.
And notice that underpainting is still
| | 04:16 |
selected.
Now, I'll go ahead and twirl Open texture
| | 04:19 |
and click on Texturizer.
And then, I would need to reapply those
| | 04:23 |
same values, a scaling value of 100%, a
relief of four, and the light set to top.
| | 04:29 |
And then I'll click okay in order to
apply that filter.
| | 04:32 |
Now you can see these kinds of diagonal
waves moving through this image.
| | 04:37 |
That's a function of me viewing the image
at the 67% zoom ratio.
| | 04:41 |
I'm going to go ahead and zoom into 100%,
and you can see that those seams go away.
| | 04:46 |
However, we've still got too much
texture, so it's a little misleading here
| | 04:50 |
that each of these filters is called
Filter Gallery.
| | 04:55 |
But we know the one on the bottom is the
first one we applied, so that's
| | 04:57 |
Underpainting.
And then the one on top is the second
| | 05:00 |
one, which is Texturizer.
So whatcha want to do, is change its
| | 05:04 |
blend settings, by double-clicking on the
little slider icon, to the far right of
| | 05:08 |
the top Filter gallery, in order to bring
up the Blending Options dialog box.
| | 05:14 |
And then, I decided to change the blend
mode to Overlay, and that ends up
| | 05:17 |
producing a pretty interesting result.
I also want to take the opacity level
| | 05:21 |
down, so I'll just go ahead and click on
it to select it.
| | 05:25 |
And dial in 77, just because it's easy to
tap the 7 key twice in a row.
| | 05:30 |
And now click Okay, in order to accept
that effect.
| | 05:33 |
So, the big point here is that if you're
going to apply multiple iterations of
| | 05:37 |
filters, inside the filter gallery, you
really want to do it outside the filter
| | 05:41 |
gallery.
That way you have a lot more flexibility.
| | 05:46 |
So I'm going to click on Normal and
switch it to linear burn, that darkest of
| | 05:50 |
the dark modes, once again.
Doesn't make any sense to have a canvas
| | 05:54 |
effect set against stone, so I'll turn
off the stone layer.
| | 05:58 |
Doesn't really make all that much more
sense to have a canvas effect set against
| | 06:02 |
lined paper.
But note, now that I zoom out.
| | 06:06 |
I'm back to 67 percent again, I'm not
really seeing those seams to the extent I
| | 06:10 |
was before.
If I want to line paper to match, in
| | 06:13 |
other words, I want both of these layers
to have this canvas texture, then I'll go
| | 06:16 |
ahead and just click on lined paper in
order to make it active.
| | 06:21 |
Then I'll right-click inside the image
window, choose convert to Smart object to
| | 06:24 |
make it a smart object as well.
And now I'm going to duplicate these
| | 06:28 |
filters from the portrait layer to the
lined paper layer by pressing and holding
| | 06:31 |
the Alt key or the Option key on the Mac.
And then you want to drag this little
| | 06:36 |
smart filter icon right there, and you go
a head and drag it down.
| | 06:41 |
And you can see because I'm holding the
Alt or Option key I get that little
| | 06:44 |
duplicate cursor that double arrowhead
and that shows me that instead of moving
| | 06:48 |
the filters from one smart object to
another, I'll copy them.
| | 06:53 |
And then you can go ahead and click that
down-pointing arrow head in order to
| | 06:56 |
expand the Filters, and confirm that
they're there.
| | 07:00 |
And we end up with this effect here.
So we're losing the lines in the note
| | 07:03 |
paper, but we end up creating a matching
texture effect, which I think makes more
| | 07:07 |
sense.
So I'll just go ahead and fill the screen
| | 07:11 |
with that guy as well.
So again, rather than applying multiple
| | 07:16 |
effects inside the filter gallery
dialogue box, which is possible, I
| | 07:19 |
recommend that you apply one filter at a
time.
| | 07:23 |
And that way you can blend the filtered
effects inside the layers panel.
| | 07:28 |
| | Collapse this transcript |
| The strange power of the Sketch filters| 00:00 |
In this movie, I'll take you on a tour of
Sketch Filters, which are special case
| | 00:04 |
filters that for the most part recolor an
image using the active foreground and
| | 00:08 |
background colors.
I'm working inside the original version
| | 00:13 |
of this composition, so I need to, once
again, convert the Portrait Layer to a
| | 00:16 |
Smart Object.
By right-clicking inside of it with the
| | 00:20 |
rectangular Marquee tool and choosing
Convert To Smart Object.
| | 00:23 |
Then, if you're working along with me,
you want to tap the D key to ensure that
| | 00:27 |
you have your default foreground and
background colors, which are black and
| | 00:30 |
white respectively.
And that's generally the colors that work
| | 00:34 |
best with the Sketch filters.
Then, go up to the Filter menu and choose
| | 00:38 |
either the first instance of Filter
Gallery up here at the top of the list or
| | 00:42 |
the third one down.
And that will take you to the last filter
| | 00:47 |
you applied, presumably Texture.
What we want to do is twirl open the
| | 00:51 |
Sketch folder and notice we have all
these black and white thumbnails.
| | 00:56 |
The one exception is Water Paper.
That's the only one that retains the
| | 00:59 |
original colors inside the image.
Otherwise, everything else, such as
| | 01:03 |
Halftone Pattern and Conte Crayon and
Chalk & Charcoal, and all these other
| | 01:07 |
guys, Graphic Pen.
They're going to apply their effects
| | 01:12 |
using the active foreground and
background colors, that is to say, black
| | 01:16 |
and white.
I'm going to go ahead and switch over to
| | 01:19 |
Halftone Pattern for now, and then click
OK.
| | 01:22 |
Now, let's say you press the X key, in
order to swap the foreground and
| | 01:25 |
background colors.
So, the foreground color is white, the
| | 01:29 |
background color is black.
Presumably, we should get opposite
| | 01:33 |
effects out of all those filters.
And to see if that's true, I'll go ahead
| | 01:36 |
and double-click on Filter Gallery, there
inside the Layers panel.
| | 01:40 |
And Halftone Pattern is still showing up
the same way it did before, as is Conte
| | 01:44 |
Crayon, Graphic Pen, and so forth.
So, we're not seeing any difference.
| | 01:49 |
And the reason for that is when you're
applying any sketch filter as a Smart
| | 01:52 |
filter, which is what we're doing because
we're working with a Smart Object, then
| | 01:56 |
that filter remembers the foreground and
background colors that were active when
| | 02:00 |
you applied it.
And that continues to be the way it is.
| | 02:07 |
If you want to use a new set of
foreground and background colors, you
| | 02:09 |
have to apply a new instance of the
filter.
| | 02:12 |
So, I'm just going to ahead and Cancel
out of here.
| | 02:15 |
And I'm going turn off this Instance of
Filter Gallery right there.
| | 02:19 |
And I'm going to press hit Ctrl+F or
Cmd+F on a Mac, in order to revisit the
| | 02:23 |
Filter Gallery and notice this time, we
get an opposite effect where Halftone
| | 02:27 |
Pattern is concerned.
And the same goes for Conte Crayon and
| | 02:33 |
Chalk & Charcoal and Graphic Pen and
everybody else, except for Chrome.
| | 02:39 |
Chrome even though uses black and white,
is insensitive to the foreground or
| | 02:43 |
background color.
It always uses black and white.
| | 02:47 |
For the sake of demonstration, I'm
going to switch back to Halftone Pattern.
| | 02:51 |
And then, I'll go ahead and click OK.
So, we have a couple of different
| | 02:55 |
variations on this effect.
Now, let's go ahead and turn that Filter
| | 02:58 |
Gallery effect off once again.
And I'm going to dial in a couple of
| | 03:01 |
custom colors here inside the Color
panel.
| | 03:04 |
If you're working along with me, you
want to make sure that you've got your
| | 03:07 |
HSB sliders up.
And then, I'll change the hue value for
| | 03:11 |
the foreground color here to 30 degrees.
Then, I'll change the saturation to 50%
| | 03:16 |
and leave the brightness set to a 100%.
Then, I'll click on a little background
| | 03:21 |
color swatch.
And I'll change the hue value to 210
| | 03:24 |
degrees for blue, increase the saturation
to a 100% and take the brightness down to
| | 03:29 |
25%.
When you work this way, you want to go
| | 03:33 |
ahead and click on the foreground color
swatch once again, just to make sure that
| | 03:36 |
it's active.
Because otherwise, when you use the Eye
| | 03:39 |
Dropper in the future, it's going to lift
the background color instead of the
| | 03:42 |
foreground color.
So, it's just a little bit of
| | 03:45 |
housekeeping.
Now, go ahead and press Ctrl+F or Cmd+F
| | 03:48 |
on a Mac to apply that last filter once
again.
| | 03:51 |
And notice, this time we're seeing the
Halftone Pattern effect applied using
| | 03:55 |
those colors.
And the same is going to go for Conte
| | 03:59 |
Crayon, and Graphic Pen, and so forth.
So, at the risk of belaboring this, I
| | 04:03 |
want you to know that's how it works.
Again, with the exception of Chrome,
| | 04:08 |
which is going to still use black and
white.
| | 04:11 |
There is one other filter, in the
Gallery, that responds to the foreground
| | 04:14 |
and background colors, and it's available
to us in the Artistic folder.
| | 04:20 |
And it's this guy right there, Neon Glow.
And when you click on it, you can see
| | 04:23 |
that the filter goes ahead and applies
the colors that we're using, the
| | 04:26 |
foreground and background colors.
But the background color at this point is
| | 04:30 |
mostly covered up with this Glow Color
right there.
| | 04:33 |
So, if you click on the Glow Color
swatch, you can change it to a different
| | 04:36 |
color.
I'll just go ahead and drag this circle
| | 04:39 |
up to white like so, so that we have a
white glow.
| | 04:42 |
But notice the white glow is set against
that dark blue background color.
| | 04:47 |
If you want to switch things around, by
the way, you change the Glow Size.
| | 04:51 |
So you can increase the Glow Size to
increase the impact of the effect.
| | 04:55 |
And we're actually adding more darkness
from that background color.
| | 04:58 |
But if you want to flip those guys
around, then you switch the Glow Size
| | 05:01 |
value to negative, and you'll end up
getting the effect we see on screen right
| | 05:05 |
now.
And of course, you have control over the
| | 05:09 |
Glow Brightness, which is the amount of
glow color.
| | 05:13 |
Anyway, I'll go ahead and reset Glow Size
to a positive value.
| | 05:18 |
It really doesn't matter at this point.
I'm just putting something in place here.
| | 05:21 |
Might as well take the Glow Brightness up
as well, which ironically diminishes the
| | 05:25 |
glow inside the image.
Anyway, now I'll click OK, in order to
| | 05:29 |
apply that effect.
Presumably, I have an actual goal in
| | 05:33 |
mind.
So, what I'm going to do here is turn off
| | 05:36 |
that Neon Glow, turn on the very first
filter gallery instance at the bottom of
| | 05:40 |
the list which is the Halftone that
remembers that I was working with the
| | 05:43 |
foreground color of black and the
background color of white.
| | 05:50 |
I'll go ahead and double-click on that
guy to edit it.
| | 05:52 |
And you may see this warning telling you
that you're only going to see the effects
| | 05:55 |
of this filter and the ones below it,
which is perfectly fine, because the
| | 05:57 |
other ones are turned off anyway.
Go ahead and click OK.
| | 06:01 |
And I'm going to switch this guy from
Halftone Pattern to Bas Relief, right
| | 06:05 |
there, in order to create this effect.
And by default, you've got the light
| | 06:11 |
coming in from the bottom.
I'm going to change that to top, in order
| | 06:15 |
to create this interesting embossed
effect right there.
| | 06:19 |
You also have control over the
smoothness, but I don't want smoothness
| | 06:22 |
for this, I want chunkiness, so I'm
going to take that value down to 2.
| | 06:27 |
And you can control the amount of detail.
Notice that if I take the detail value
| | 06:31 |
down low, we get these kind of contour
textures inside the image.
| | 06:37 |
I'm going to crank that value up,
however, so that I have, perhaps not this
| | 06:41 |
much detail.
Lets go ahead and take this down to
| | 06:44 |
something a little bit more reasonable
and yet, still very scary such as, let's
| | 06:47 |
say, 13 which I believe is the default
setting.
| | 06:51 |
Now, I'll click OK in order to accept
that change.
| | 06:55 |
And I've got this down layer down below
that I want to blend this guy with.
| | 06:59 |
So, I'll go to the Blend mode pop-up
menu, and change it to Multiply, in order
| | 07:03 |
to create this effect here.
Pretty quick and dirty effect as you can
| | 07:07 |
see, relies on a single filter combined
with a Blend mode.
| | 07:12 |
And yet, we're able to achieve a pretty
striking result, thanks to the strange
| | 07:16 |
power of the Sketch Filters.
| | 07:19 |
| | Collapse this transcript |
| Converting an image to etched outlines| 00:00 |
In this movie, I'll show you how to
convert an image into a series of
| | 00:04 |
outlines using a whole bunch of filters
including one called Note Paper.
| | 00:09 |
Once we're finished, we'll manage to
transform this portrait shot into this
| | 00:13 |
kind of ink drawing, right here.
Now, I've gone ahead and cleaned up the
| | 00:17 |
base composition a little bit.
By getting rid of the stone layer and
| | 00:21 |
converting the portrait layer to a smart
object in advance.
| | 00:24 |
If your working along with me, go ahead
and tap the D key to make sure that black
| | 00:28 |
and white are your foreground and
background colors respectively.
| | 00:33 |
Then, go up to the Filter menu and chose
Filter Gallery.
| | 00:37 |
And you want to make sure that the Sketch
folder is twirled open, and then go ahead
| | 00:41 |
and click on the Note Paper thumbnail, in
order the achieve this effect, right
| | 00:44 |
here.
And these values are just fine, if you
| | 00:49 |
want to dial them in 25 for the Image
Balance, which is the default, 8 for
| | 00:52 |
Graininess, and 10 for Relief.
We'll end up coming back to those later,
| | 00:58 |
but for now, they're fine.
So, just go ahead and click OK.
| | 01:01 |
And notice how that breaks up the details
in the image.
| | 01:04 |
It's basically a threshold, between the
darkest colors and the brightest colors
| | 01:08 |
inside the portrait.
What we want to do is make it trace the
| | 01:12 |
contours of the image.
So, we're going to have to add a few
| | 01:15 |
filters here.
Now, the filter that essentially extracts
| | 01:19 |
the outlines from an image is High Pass.
So, go up to the Filter menu, choose
| | 01:25 |
Other, and then choose High Pass.
And for this image, we want to dial in a
| | 01:30 |
radius value of two pixels, then click
OK.
| | 01:33 |
Problem is, my filters are applied in the
wrong order.
| | 01:36 |
So, I'm going to get rid of this filter
mask by right-clicking on it and choosing
| | 01:40 |
Delete Filter Mask.
And then, I'll grab High Pass and drag it
| | 01:45 |
below Filter Gallery in order to produce
this effect here.
| | 01:49 |
Now, that's way too much reticulation and
as you can see.
| | 01:53 |
So, we need to smooth things out.
Now, we're going to do so using a
| | 01:56 |
combination of three filters, and their
purpose is going to make more sense after
| | 02:00 |
we apply them.
So, for now, just work along with me.
| | 02:05 |
Go up to the Filter menu, choose Noise,
and then choose Reduce Noise.
| | 02:11 |
I'm going to increase the strength value
to ten and take preserved details down to
| | 02:16 |
0%.
We don't have any color, so we don't need
| | 02:18 |
to worry about the color noise.
And we don't want to sharpen the details
| | 02:22 |
either, so we'll take that down to 0% as
well.
| | 02:25 |
You probably don't want to ruin your
default settings.
| | 02:28 |
So, click on the little Save icon, right
there and go ahead and call this guy Max
| | 02:32 |
noise reduction because this is about the
most noise reduction you can apply.
| | 02:38 |
And then, click OK.
And then, go ahead and choose that
| | 02:41 |
setting, so that you don't overwrite the
defaults and click OK.
| | 02:45 |
Now, that's a pretty interesting effect
at this point, but we actually want the
| | 02:49 |
noise reduction to happen at the very
beginning.
| | 02:52 |
So, we need to grab the Reduce Noise
filter here in the Layers panel and drag
| | 02:56 |
it to the bottom of the stack to produce
this effect, here.
| | 03:01 |
We still need to get rid of more of this
garbage and we're going to do that using
| | 03:03 |
Gaussian Blur.
So, return to the Filter menu, choose
| | 03:06 |
Blur, and then choose Gaussian Blur.
And go ahead and set the Radius value to
| | 03:12 |
1 pixel and click OK.
Again, this is not the right placement
| | 03:16 |
for the filter, so drag it to between
Reduce Noise and High Pass, and then drop
| | 03:20 |
it into place.
And you'll end up getting rid of still
| | 03:25 |
more of the garbage inside the image.
Now, we need to transform some of these
| | 03:29 |
random pixels here, into contours, so
that they appear as outlines.
| | 03:34 |
And we can do that using an oddball
filter called Smart Blur.
| | 03:39 |
Go up to the Filter menu, choose Blur and
choose Smart Blur.
| | 03:43 |
It's not a filter that you'll choose on a
regular basis.
| | 03:46 |
What it does is it blurs inside of a
threshold.
| | 03:49 |
And in my case I've set the threshold to
10.
| | 03:52 |
Meaning that two neighboring pixels have
to be 10 luminous levels or less
| | 03:56 |
different from each other to get blurred.
So, in other words, we're blurring the
| | 04:01 |
small stuff, but we're not blurring the
big details inside the image.
| | 04:05 |
And that's going to help shape the
effect.
| | 04:07 |
I set the Radius value to 3 pixels.
You definitely want Quality set to High.
| | 04:12 |
There's no reason to go Low or Medium.
Except for the fact that high takes a lot
| | 04:16 |
longer.
Then, go ahead and Click OK in order to
| | 04:19 |
apply that effect.
And this is one of Photoshop's slowest
| | 04:22 |
filters, by the way.
So, it might take a moment to apply.
| | 04:26 |
Then, grab Smart Blur and drag and drop
it between High Pass and Gaussian Blur at
| | 04:31 |
this location here.
And you'll notice that this gives the
| | 04:35 |
filtering effect some structure.
So, just as a review, we'll turn off
| | 04:39 |
Reduce Noise, so you can see its impact
on this effect.
| | 04:43 |
So, you can see that it's very essential
for getting rid of some of that low level
| | 04:47 |
noise, inside of the image.
If you want to turn it back on, the
| | 04:51 |
quickest way to do it is to just press
Ctrl+Z, or Cmd+Z on the Mac, in order to
| | 04:54 |
undo the turning off.
Because if you turn the filter back on,
| | 04:59 |
then Photoshop has to recalculate it.
Next, I'll turn off Gaussian Blur, so
| | 05:03 |
that you can see its impact and you'll
see that we'll now have some more garbage
| | 05:07 |
that Gaussian Blur had gotten rid of.
I'll press Ctrl+Z or Cmd+Z on the Mac to
| | 05:12 |
reapply it.
We just saw Smart Blur a second ago, so I
| | 05:15 |
won't show you that, but I will turn off
High Pass, so you can see the enormous
| | 05:19 |
effect that it has on the image.
Again, I'll press Ctrl+Z or Cmd+Z on the
| | 05:24 |
Mac to undo that change, but the one that
really makes the effect happen is this
| | 05:29 |
top one that's called Filter Gallery, but
we know that it's snow paper.
| | 05:35 |
If I were to turn it off, we have quite a
different effect, and of course, not one
| | 05:39 |
that we'd ever want to achieve.
So, again I'll press Ctrl+Z or Cmd+Z on a
| | 05:44 |
Mac, to reestablish that filter.
So, now that we have these edged
| | 05:49 |
outlines, we need to turn them into this
sort of digital ink.
| | 05:54 |
And I'm going to show you how that works
in the very next movie.
| | 05:58 |
| | Collapse this transcript |
| Turning those outlines into "digital ink"| 00:00 |
So we've got these etched outlines.
We need to convert them into the
| | 00:03 |
equivalent of digital ink.
And here's how that process works.
| | 00:08 |
I'll go ahead and switch back to the
image at hand and double-click on Filter
| | 00:12 |
Gallery in order to revisit the Filter
Gallery Dialogue box, complete with our
| | 00:16 |
Notepaper settings.
What we want to do is get rid of this
| | 00:21 |
Etching effect, and I'll do that by
reducing the Relief value to zero.
| | 00:26 |
And then I'll also take the graininess
value, which we most definitely don't
| | 00:29 |
want, down to 0 as well.
So we're left with just two colors of
| | 00:33 |
pixels, white and this very light grey.
If you take it up from 25 to 26, it makes
| | 00:39 |
a total mess of things, and if you take
it down to 24, why then you have almost
| | 00:43 |
no detail left.
So 25 is what you want.
| | 00:48 |
Then go ahead and click Okay to accept
that effect.
| | 00:51 |
Now if I zoom in, you can see that we've
got not only very light outlines, but
| | 00:55 |
very jagged ones as well.
To smooth them out, go up to the Filter
| | 01:00 |
menu, choose Blur, and choose Gaussian
Blur once again.
| | 01:05 |
And this time you want to dial in a
Radius value of just 0.5 pixels, then
| | 01:08 |
click Okay.
Now we need to firm up the effect, as
| | 01:12 |
well as darken it, using a Levels
Adjustment layer.
| | 01:16 |
So press and hold the Alt key, or the
Option key on a Mac, click the
| | 01:18 |
black-white circle at the bottom of the
Layers panel, and then choose the Levels
| | 01:22 |
command.
And I'm going to change the name of this
| | 01:26 |
layer to darken, and then be sure to turn
on use previous layer to create Clipping
| | 01:30 |
Mask and click okay.
Now go ahead and take this black point
| | 01:35 |
value up to the beginning of the
Histogram which is right about 180.
| | 01:40 |
The other values are fine as is, and
you'll end up with this effect here.
| | 01:45 |
So now we've introduced a little bit of
smoothness into the artwork.
| | 01:49 |
The other thing I want to do is kind of
round off some of this squarish stuff,
| | 01:52 |
and to do that, click on the Portrait
layer once again.
| | 01:56 |
Go to the Filter menu for the last time,
at least where this composition is
| | 01:59 |
concerned.
Choose Noise and then Medium.
| | 02:03 |
And set the radius value to one pixel
like so, and then click Okay.
| | 02:09 |
Now this filter's probably going to
behave better if it occurs before
| | 02:12 |
Gaussian Blurs, so go ahead and grab it
and drag it down below Gaussian Blur.
| | 02:17 |
In order to transform the effect as we
see here.
| | 02:21 |
So we now have some much smoother
outlines.
| | 02:24 |
I'm going to go ahead and zoom out
because we really don't need to staring
| | 02:27 |
right down that guy's nose.
And we want to change the blend mode for
| | 02:31 |
the portrait layer from normal to
multiply in order to keep the blacks and
| | 02:35 |
drop out the whites like so.
I'm going to press Ctrl+0 or Cmd+0 on a
| | 02:41 |
Mac, to zoom out.
Obviously, this isn't going to work
| | 02:45 |
because after all, what kind of ink
drawing traces around the contours of
| | 02:49 |
everything, but doesn't fill in any of
the shadows?
| | 02:54 |
The hair is blanked out, as are the eyes
and the nostrils and the interior of the
| | 02:58 |
mouth.
So to fill those in you need to make a
| | 03:02 |
copy of our smart object by pressing
control j or command j on a mac to jump
| | 03:05 |
it then go ahead and scroll down to the
orignal here, right click on the little
| | 03:09 |
smart filter icon and choose clear smart
filters in order to get rid of them all
| | 03:13 |
and then double click on an empty portion
of this layer.
| | 03:21 |
To bring out the layers style dialogue
box drag the white triangle and there's
| | 03:25 |
the this layer slider to 95 is what I'm
looking for and if you don't exactly hit
| | 03:30 |
it that's not a problem and then alt drag
or option drag the right half of that
| | 03:35 |
line triangle to 180.
And that will produce this effect here so
| | 03:42 |
keeping the darkest stuff from 0 to 95.
Which fills in the mouth and the eyes and
| | 03:47 |
the hair and the nostrils and so fourth
even a little bit of the ear over here.
| | 03:51 |
And then we're fading things away between
95 and 180 and then anything associated
| | 03:56 |
with this layer is invisible at luminous
levels of 180 and higher.
| | 04:01 |
Now click okay in order to accept that
effect.
| | 04:05 |
And now, just so you can see it, I'll
press Shift+F in order to switch to the
| | 04:09 |
full-screen mode.
And that is how you trace the outlines of
| | 04:13 |
a photograph and convert those outlines
into the rough equivalent of digital ink,
| | 04:18 |
here inside of Photoshop.
| | 04:21 |
| | Collapse this transcript |
| Duplicating a complex Smart Filter sequence| 00:00 |
Now the great thing about establishing
the smart object with all these smart
| | 00:04 |
filters assigned to it is that the smart
object itself now serves as a kind of
| | 00:07 |
graphic style for this effect.
Meaning that you can easily replicate the
| | 00:13 |
effect on other images.
What I'm going to do here, if you'll
| | 00:16 |
indulge me, is I'm going to show the
wrong way to approach it, the obvious
| | 00:19 |
way.
And then I'll show you the right way to
| | 00:22 |
do it.
And I think you'll find this to be an eye
| | 00:25 |
opening technique.
It's really great.
| | 00:28 |
So I'm going to start things off by
clicking on this top portrait layer, the
| | 00:31 |
one that has the seven smart filters
assigned to it and then I'm going to
| | 00:34 |
switch over to this image right here.
So I'm going to turn this guy into an ink
| | 00:39 |
drawing as well, again from the fotolia
image library.
| | 00:42 |
And so with my rectangular Marquee tool,
I'll right-click inside the image and
| | 00:45 |
choose Duplicate Layer.
And then I'll go ahead and switch the
| | 00:49 |
document to Inkdrawing.PSD, which is the
name of my Smart Object composition.
| | 00:54 |
And I'll go ahead and call this layer
Dude, or something like that, then I'll
| | 00:57 |
click okay.
Now let's go ahead and switch back over
| | 01:00 |
to the graphic at hand, and, obviously,
it's a mess.
| | 01:03 |
Part of the problem is that he's clipped
inside of the portait group right there,
| | 01:07 |
so I'll press the Alt key or the Option
key on a Mac, and click on this
| | 01:10 |
horizontal line right there.
In order to unclip him from the portrait
| | 01:16 |
below.
Now I've got to clip the adjustment layer
| | 01:19 |
into him, so I'll press the Alt key or
the Option key on a Mac and click on this
| | 01:22 |
horizontal line.
And then I need to convert him to a Smart
| | 01:25 |
Object so that he can accomodate these
smart filters, and I'll do that by
| | 01:29 |
right-clicking inside the image window
and choosing Convert to Smart Object.
| | 01:35 |
And now, I'll go ahead and grab this
little Smart Object icon here, and drag
| | 01:38 |
and drop it.
You don't have to press the alter option
| | 01:41 |
cue this time just go to drag and drop
onto the dude layer and then you'll get
| | 01:44 |
this progress bar telling you that
Photoshop is applying all of those
| | 01:47 |
filters and doesn't really look exactly
the way it wanted to but I can make some
| | 01:51 |
modifications of course.
I'll go ahead and get rid of that
| | 01:56 |
original portrait layer this one right
there that use to contain the smart
| | 01:58 |
filters.
And then I'll click on this new dude
| | 02:02 |
layer and I'll change his blend mode to
multiply because that's the way we had it
| | 02:05 |
before.
Unfortunately, he's being multiplied not
| | 02:09 |
only onto the notebook paper in the
background but also this portrait layer
| | 02:12 |
right here which contains the shadows and
that's totally wrong.
| | 02:17 |
So that's the obvious wrong approach.
Now I'll show you the right approach.
| | 02:21 |
I'm going to go up to the final menu, and
choose the revert command, or of course,
| | 02:25 |
you can press the f12 key.
Instead what you want to do, and this is
| | 02:30 |
downright miraculous, you want to double
click on either one of the smart object
| | 02:33 |
thumbnails, because they're both linked
to the same smart object.
| | 02:39 |
If you get the warning about how Smart
Objects work, just go ahead and Click
| | 02:42 |
Okay.
And now we have the original image, as
| | 02:45 |
you can see here.
Now switch back to this guy, and I will
| | 02:48 |
again Right Click inside of him and
Choose Duplicate Layer so it looks a lot
| | 02:51 |
like what we were doing before.
But this time we are going to place this
| | 02:56 |
image into portrait1.psp, or whatever its
called in your case, so we were going to
| | 03:00 |
place it into the smart object container.
This time we can't name the layer as we
| | 03:05 |
created, so which is I have to do at the
moment, I will click okay, now you want
| | 03:08 |
to switch over to this image and you can
see that he is moved into the right
| | 03:11 |
location I'm going to double click on the
word background there and change the name
| | 03:15 |
of this layer to septic and then we can
get rid of the original portrait image
| | 03:19 |
because we don't need it anymore.And now
I'll go ahead and just zoom out a little
| | 03:22 |
bit so I can see that he's to big to
accommodate this space so we're going to
| | 03:25 |
have to scale him If you want to
transform non-destructively, because you
| | 03:29 |
never know if you're going to get it
right or not.
| | 03:38 |
Go ahead and convert the guy into a smart
object before you apply the
| | 03:40 |
transformation.
So, I'll right click inside the image.
| | 03:43 |
Choose Convert to Smart Object.
And then I'll go out to the Edit menu and
| | 03:47 |
choose Free Transform.
Or you can press Control+T, Command+T on
| | 03:52 |
the Mac.
And here are the values I came up with.
| | 03:55 |
I'll go ahead and link the width and
height values to each other, and then
| | 03:58 |
I'll click on W in order to select that
value and change it to 78%.
| | 04:03 |
And I also have some coordinates that I'm
going to enter in here.
| | 04:06 |
Of course, I figured these out just by
trial and error, but just to speed things
| | 04:10 |
up here, I'll click on X in order to
select it.
| | 04:14 |
You want to make sure the center of this
little reference point matrix is
| | 04:17 |
selected, and I'm going to change its
value to 575, then I'll Tab over to the y
| | 04:21 |
value and change it to 1,004.
And then press the Enter key a couple of
| | 04:26 |
times, the Return key a couple of times
on a Mac, in order to apply that
| | 04:30 |
transformation.
We're done, so I'll just go ahead and
| | 04:34 |
close this image, and here on the PC,
I'll click the Yes button in order to
| | 04:37 |
save my changes.
On the Mac, you would click on the Save
| | 04:40 |
button, and then you can go ahead and
switch back to the ink drawing.psd
| | 04:43 |
document right here, and you can see, all
the work's done for you.
| | 04:48 |
Notice that all the smart filters are
assigned.
| | 04:51 |
The adjustment layers is properly clipped
to this image as well.
| | 04:53 |
And I've managed to replace the image
below because it's linked to the same
| | 04:57 |
smart object.
So, we have the proper shadows in place.
| | 05:01 |
So, in other words, everything was done
for me in one operation.
| | 05:05 |
So thanks to the fact that we applied
smart filters to a smart object we can
| | 05:10 |
replicate this effect on any image that
we like.
| | 05:14 |
Now of course that doesn't mean that the
results are going to be absolutely
| | 05:17 |
perfect in fact this guys got a lot more
stuff going on in his face so we have
| | 05:20 |
some details we might not like and I'd
like to thicken up the lines and make
| | 05:24 |
some other modifications.
And I'll show you how that works in the
| | 05:30 |
next movie.
| | 05:31 |
| | Collapse this transcript |
| Customizing a filter effect for a new image| 00:00 |
So just because we can duplicate the
effect of a bunch of smart filters from
| | 00:03 |
one image onto another, doesn't mean
we'll necessarily get the desired
| | 00:06 |
results.
After all, every image is different.
| | 00:10 |
And in the case of this guy, we do have a
decent digital ink effect, however I
| | 00:14 |
want to clean up some of the garbage
inside of his face and I want to thicken
| | 00:17 |
up the outlines as well.
I'll start with the latter.
| | 00:22 |
And if you want to thicken up the
outlines where this particular effect is
| | 00:25 |
concerned, then the filter you want to
look to is High Pass.
| | 00:29 |
So I'll go ahead and double-click on High
Pass, here inside the Layers panel.
| | 00:34 |
And very possibly, you'll see this alert
message, that's telling you that you're
| | 00:37 |
not going to be able to see the effect of
all the filters as you modify this one.
| | 00:42 |
You're only going to be able to see High
Pass going down.
| | 00:45 |
You're not going to be able to see no
paper median or Gaussian blur.
| | 00:49 |
So I'll go ahead and click OK in order to
accept that message.
| | 00:54 |
What ends up happening here as a result
of this adjustment layer, the entire
| | 00:57 |
image turns black inside the image
window.
| | 01:00 |
But I can see what's going on here inside
of the dialog box.
| | 01:04 |
So I'll go ahead and pan over to his eye.
I'll raise the radius value to four
| | 01:08 |
pixels, and this is something I came up
with, as usual, through trial and error.
| | 01:13 |
You'd have to do the same, but in my case
I know this is what I want.
| | 01:17 |
So I'll go ahead and click OK in order to
accept those thicker lines.
| | 01:21 |
This is what the image looked like
before.
| | 01:23 |
And this is what it looks like now.
And of course I'm switching between those
| | 01:27 |
views just by pressing Ctrl+Z or Cmd+Z on
the Mac.
| | 01:30 |
Now I want to smooth over some of this
stuff inside of his face.
| | 01:33 |
And the best way to accomplish that is to
adjust the Smart Blur settings.
| | 01:37 |
So I'll go ahead and double-click on
Smart Blur.
| | 01:40 |
I'll get that same alert message.
I'll just go ahead and click OK.
| | 01:44 |
And notice this time we're not
necessarily seeing any changes in the
| | 01:48 |
preview.
And that's because the Smart Blur filter
| | 01:51 |
takes a while to update.
I'll just go ahead and drag this guy's
| | 01:55 |
eye inside the dialog box.
And then I'll change the radius value
| | 01:59 |
from three pixels to five.
Again, I just figured this out by poking
| | 02:03 |
around.
And now, I'm seeing the preview update,
| | 02:06 |
which of course is wildly inaccurate so
really it doesn't matter.
| | 02:10 |
I'll go ahead and click OK in order to
apply that change.
| | 02:14 |
So again, just to give you a sense of the
before and after, this is before, so
| | 02:17 |
we've got a lot more garbage going on
inside of his face, and this is after.
| | 02:23 |
Doesn't make a world of difference but it
does help.
| | 02:26 |
What's going to make a world of
difference is some manual painting.
| | 02:31 |
With this portrait layer selected what
I'd like you to do if you're working
| | 02:34 |
along press Ctrl+Shift+N or Cmd+Shift+N
on the Mac in order to bring up the New
| | 02:38 |
Layer dialog box.
And I'm going to go ahead and call this
| | 02:43 |
new layer cover up.
Use previous layer to create clipping
| | 02:46 |
mask will be turned on by default,
because we're sandwiching this new layer
| | 02:50 |
between the portrait and the clipped
adjustment layer.
| | 02:54 |
So go ahead and click OK to create the
new layer.
| | 02:57 |
Then, you want to switch to your Brush
Tool, which you can get by pressing the B
| | 03:00 |
key.
Right-click inside the image window and
| | 03:03 |
crank the Hardness value up to 100%.
And then you can vary the size value on
| | 03:07 |
the fly.
I'm starting with 35 pixels.
| | 03:10 |
So I'll go ahead and press the Enter key,
or the Return key on the Mac, to hide
| | 03:13 |
that panel.
And then I'll press the D key, followed
| | 03:16 |
by the X key, in order to establish white
as my foreground color.
| | 03:22 |
So it's very important that you're
painting with white to paint this stuff
| | 03:25 |
away, and then just go ahead and paint.
And this white layer, because it's
| | 03:29 |
clipped inside of a layer that's set to
the multiple eye blend mode, we'll go
| | 03:32 |
ahead and paint in transparency.
I'm going to press right bracket key a
| | 03:37 |
few times in order to increase the size
of my cursor, and I'll go ahead and paint
| | 03:40 |
some of this stuff away.
Then I'll paint some stuff over here on
| | 03:44 |
the left hand side of his face as well.
Reduce the size of my cursor by pressing
| | 03:49 |
the left bracket key and paint away this
stuff right there.
| | 03:53 |
And I also want to paint away this junk.
Now if you paint something away like this
| | 03:58 |
and it doesn't go away.
Like this little bit of blackness right
| | 04:01 |
there.
That's because it's associated with that
| | 04:04 |
lined paper in the background.
I also want to paint away this stuff
| | 04:08 |
inside of his nose.
I think that looks pretty cruddy,
| | 04:11 |
actually, and I think it'll look a lot
better if it's gone.
| | 04:14 |
And then I'll go ahead and paint some of
this stuff away up here in his forehead
| | 04:18 |
as well.
Now, if you make a mistake and you
| | 04:21 |
accidentally paint away something that
you want to keep, like that.
| | 04:25 |
Then go ahead and switch to your Eraser
Tool, which you can get by pressing the E
| | 04:28 |
key.
Right-click inside the image window
| | 04:31 |
confirm that the hardness value is set to
100%.
| | 04:33 |
That's very important.
And then you can go ahead and erase away
| | 04:37 |
the white, in order to bring back that
detail.
| | 04:41 |
Now press the B key to switch back to the
the Brush Tool.
| | 04:44 |
And I might paint this away and I'm
tempted to paint away some of the stuff
| | 04:47 |
under his eye, but it really adds to his
expression.
| | 04:51 |
So I think I'll go ahead and keep it.
Might paint away that stuff in his nose,
| | 04:54 |
and then a little bit of this stuff in
his chin needs to go, but I want to keep
| | 04:58 |
this stuff over here.
Because that's establishing that he has
| | 05:03 |
an edge to his chin.
Now, the final thing I decided was that I
| | 05:06 |
wanted a little less saturation
associated with the shadows in the
| | 05:10 |
background.
And to tone down the saturation, what you
| | 05:13 |
want to do is click on this portrait
layer, the one that appears as a
| | 05:16 |
full-color thumbnail.
And then go ahead and click on the FX
| | 05:20 |
icon at the bottom of the Layers panel
and choose Color Overlay.
| | 05:25 |
And instead of overlaying red as by
default, we want some low saturation
| | 05:29 |
color, like black or white.
So, go ahead and click on the red Color
| | 05:33 |
Swatch, and I'm just going to go with
black, so I'll drag this little bubble
| | 05:36 |
here.
To the lower left corner of the color
| | 05:40 |
field and then I click OK.
Now you want to change the Blend Mode
| | 05:43 |
from Normal to Saturation, so that you're
adopting the saturation of black, which
| | 05:47 |
of course is no saturation whatsoever so
we end up getting a grey scale image.
| | 05:53 |
Unfortunately we're making an entire
image grey scale, that is the entire
| | 05:56 |
composition.
I want to retain the color of that lined
| | 06:00 |
notebook paper in the background.
So, I'll click on Blending Options in the
| | 06:04 |
upper left hand corner of the dialog box,
and then you want to turn on this check
| | 06:07 |
box, Blend Interior Effects as Group.
And that way, you're reducing the
| | 06:13 |
saturation of the active image layer
before you blend it with the background.
| | 06:18 |
And we end up getting this effect here.
So you can see that we're bringing back
| | 06:22 |
this yellowish color from the notebook
paper.
| | 06:25 |
I don't want to reduce the saturation of
this guy that much, so I'll switch back
| | 06:29 |
to Color Overlay and reduce the Opacity
value.
| | 06:33 |
And I ended up coming up with an opacity
of 50%.
| | 06:37 |
Now click OK in order to accept that
change.
| | 06:41 |
And that friends, is at least one way to
modify your digital ink effect to suit a
| | 06:45 |
different image.
| | 06:47 |
| | Collapse this transcript |
| Tracking Filter Gallery effects by name| 00:00 |
Our next project will be the convert the
digital link into this pencil sketch
| | 00:04 |
effect, but we're going to start things
off in this movie with a little trick.
| | 00:09 |
I want you to notice this portrait layer
and how it has a variety of filters
| | 00:13 |
assigned to it, including, notice this
guy right there, note paper.
| | 00:17 |
So instead of it reading filter gallery,
we actually see the name of the name of
| | 00:21 |
the filter, which is quite helpful.
Because otherwise, if I didn't set things
| | 00:25 |
up here rather than seeing no paper as
well as under painting crosshatch and
| | 00:29 |
texturizer, all of which are filter
gallery effects, I just see a repetition
| | 00:32 |
of the words filter gallery four times,
and that would make for a pretty
| | 00:36 |
unintelligible composition.
So how in the world do we make that
| | 00:41 |
happen?
Well, let me show you.
| | 00:44 |
I'll go ahead and switch back to this
composition, and by the way, it's the
| | 00:47 |
same digital ink effect we've seen in the
past, just set against a different
| | 00:50 |
background.
And we're going to start things off by
| | 00:54 |
getting rid of a few of these smart
filters.
| | 00:57 |
We don't need Median, Smart blur, or
Reduce noise.
| | 01:00 |
Smart blur is the one that takes the
longest time to apply, so we should get
| | 01:03 |
rid of it first.
Now you have two options, one is to just
| | 01:06 |
turn the filter off, like so.
But since we need to turn off three of
| | 01:10 |
these filters, it seems to me we're just
better off getting rid of them so that we
| | 01:14 |
have a little bit less confusion.
And the easiest way to get rid of a smart
| | 01:18 |
filter is to right click on it, and then
choose Delete Smart Filter, like so.
| | 01:24 |
So we have to delete them one at a time
in other words.
| | 01:27 |
Reduce noise we also need to get rid of.
And, another way to work, just in case
| | 01:30 |
you want to know, you can drag the filter
to the Trash can like so, and that'll go
| | 01:34 |
ahead and delete it as well.
But, seems to me it's easier to just
| | 01:39 |
right click, for example, on Median, and
choose Delete Smart Filter to get rid of
| | 01:42 |
it.
I also want to get rid of this guy filter
| | 01:46 |
gallery, because in order to display it
has no paper which is what it is we have
| | 01:50 |
to reapply it.
So right click on Filter Gallery and
| | 01:54 |
choose Delete Smart Filter.
That's going to make an absolute mess of
| | 01:58 |
the image.
It's going to turn absolutely black.
| | 02:01 |
That's okay, we'll fix it in just a
moment.
| | 02:03 |
Now I want you to notice up here in the
filter menu about we have just nine sub
| | 02:07 |
menus starting with Blur and ending with
OIther in the Essentials section of the
| | 02:11 |
menu.
And we're not seeing anything like
| | 02:15 |
Sketch, for example, for all the sketch
filters, or Artistic, or any of those.
| | 02:21 |
In order to bring those sub menus back
just like in the old days what yuo see to
| | 02:24 |
do is press Control K, or Command K on a
Mac, in order to bring up the Preferences
| | 02:28 |
dialog box...
Then Switch to plug-ins, over here in the
| | 02:32 |
left hand list.
And notice this check box there, Show all
| | 02:36 |
filter gallery groups and names, go ahead
and turn that check box on and then click
| | 02:39 |
Okay.
And now, if you return to the Filter
| | 02:43 |
menu, you'll see a longer list of sub
menus here.
| | 02:47 |
There's Artistic, there's Brush Strokes,
which also reveals some Filter gallery
| | 02:51 |
effects, there's Sketch, and so forth.
Sketch is the one we're looking for,
| | 02:56 |
however, before you apply this filter, go
ahead and escape out of that menu if
| | 02:59 |
you're following along with me, and press
the D key, just to confirm that you have
| | 03:03 |
your default foreground and background
colors, black and white respectively.
| | 03:09 |
Then go back to the filter menu, choose
Sketch, and choose Note paper.
| | 03:14 |
And we want to dial in those same
settings we used before.
| | 03:16 |
The image balance should be 25, and we
want both graininess and relief to be set
| | 03:20 |
to 0, then click Okay.
And now, grab Note paper and drag it
| | 03:25 |
below Gaussian blur so that we don't have
those jagged edges, and you'll end up
| | 03:30 |
with this effect here.
And notice the words note paper appearing
| | 03:35 |
inside the Layer menu.
So you can actually track exactly which
| | 03:40 |
filters you've assigned.
And so remember, if you want to be able
| | 03:44 |
to track exactly which filters you're
applying, then you want to assign those
| | 03:47 |
filters, not using the filter gallery
command, because then Photoshop will
| | 03:51 |
merely display the words filter gallery
inside the Layers panel.
| | 03:56 |
But rather you need to go ahead and
assign the command from the specific
| | 04:00 |
sub-menu.
| | 04:01 |
| | Collapse this transcript |
| Pencil sketching one image onto another| 00:00 |
In this movie, I'll show you how to
convert the image we have so far into
| | 00:03 |
this pencil sketch effect, which hinges
in part on your ability to texturize one
| | 00:08 |
image using another one.
So we'll start things off inside of this
| | 00:13 |
image, and what I want to do is texturize
this portrait layer, using the background
| | 00:18 |
image.
That is to say, using this paper texture.
| | 00:22 |
So we need to offload the texture to a
new image.
| | 00:26 |
And we can do that by clicking on the
background here inside the layers panel,
| | 00:29 |
and then right clicking inside the image
window with the rectangular marquee tool
| | 00:33 |
and choosing duplicate layer.
Then go ahead and change the document to
| | 00:38 |
new and click OK, and you'll create a new
image as you see here.
| | 00:43 |
Now it's very important that the image is
flat, which it is in my case because I
| | 00:47 |
duplicated the background item.
But if we had been working with a layer,
| | 00:52 |
then you'd need to go up to Layer menu
and choose the Flatten image command.
| | 00:58 |
The next thing you want to do is go up to
the Image menu, choose Mode, and choose
| | 01:01 |
Grayscale.
Now, you don’t absolutely have to convert
| | 01:04 |
the image to grayscale, but it's a good
idea, because otherwise both the
| | 01:07 |
underpainting and texturizer filters,
which are the ones that we’ll be working
| | 01:11 |
with, only pay attention to the very
first channel inside the file.
| | 01:17 |
So if your working with an RGB image, it
only pay attention to the red channel, if
| | 01:20 |
you convert to gray scale it will pay
attention to all the channels there on
| | 01:24 |
which is the say still just one.
Which gives you a better sense of what's
| | 01:29 |
going on.
Now if you get this message, go ahead and
| | 01:32 |
click Discard, in order to fuse the three
channels into one.
| | 01:36 |
And then you want to go up to the File
menu and choose the Save As command, and
| | 01:40 |
save the image to the PSD format, that's
very important.
| | 01:45 |
Now I've already done this in advance, so
if you have access to my files you'll see
| | 01:49 |
a file that's called graypaper.psd,
because there's no sense in replacing it,
| | 01:53 |
but I did want to show you how I created
that file.
| | 01:58 |
Now we'll switch back over to the image
in progress, Click on this Top Portrait
| | 02:01 |
Layer to make it active, and then I'll go
up to the Filter Menu, choose Artistic
| | 02:05 |
and choose Under Painting, and again I'm
choosing the filter directly as opposed
| | 02:08 |
to going to the Filter Gallery, so I can
properly name the smart filter inside the
| | 02:12 |
Layers Panel.
Next what you want to do is change the
| | 02:18 |
Texture, and notice that you just have
four options, Brick, Burlap, Canvas, and
| | 02:22 |
Sandstone.
None of which, match the paper texture.
| | 02:27 |
If you want to load your own custom
texture, you go over to this little Fly
| | 02:31 |
Out Menu and choose the Load Texture
command, and then go ahead and locate the
| | 02:35 |
file you just saved in my case,
graypaper.pst and click on the Open
| | 02:38 |
button in order to load it up.
Then I'm going to make a few changes to
| | 02:44 |
the settings here.
We'll set the Brush size to 2 and the
| | 02:47 |
texture coverage to 10.
These are just values that I came up
| | 02:51 |
with, and then I'll increase the relief
value to 10 as well, and I'll leave the
| | 02:54 |
light set to top, and we'll end up
getting this effect right here.
| | 02:59 |
Then click OK, in order to apply that
modification, now that ends up covering
| | 03:04 |
up our previous effect, and I'll show you
what I mean.
| | 03:08 |
If I press Ctrl+Z or Cmd+Z on the mac, we
can see all this reticulation inside the
| | 03:12 |
image, and if I press Ctrl or Cmd+Z again
to reapply the filter, you'll see that it
| | 03:16 |
goes away.
Which is why we need to merge the under
| | 03:20 |
painting effect along with the previous
filtered effects, by double clicking on
| | 03:24 |
this little Slider Icon to bring up the
Blending Options Dialogue Box, and I'll
| | 03:28 |
change the Mode to Multiply in order to
produce this effect here.
| | 03:34 |
The next thing we want to do is apply a
little bit of cross-hatching.
| | 03:37 |
So go up to the Filter Menu, choose Brush
Strokes and choose Cross-hatch, and then,
| | 03:41 |
once again inside the Filter Gallery, so
all of these commands bring up the Filter
| | 03:46 |
Gallery, as you see here.
I'm going to change the Stroke Length
| | 03:52 |
value to 20, I'll take the Sharpness down
to 2, and I'll take the Strength down to
| | 03:56 |
1.
Then go ahead and click OK to accept that
| | 03:59 |
effect.
Again, we want to merge this effect with
| | 04:02 |
the underlying filtered effects, so go
ahead and double-click on Cross hatches
| | 04:07 |
slider icon here, on the right side of
the Layers Panel, and changes its mode to
| | 04:11 |
Multiply as well, and you'll produce this
effect here, then click OK.
| | 04:17 |
And then finally, where the filter are
concerned, go up to the Filter menu,
| | 04:22 |
choose Texture, and choose Texturizer.
And we're going to load that same paper
| | 04:27 |
texture we did before, by going over to
the Fly Out Menu, on the far right side
| | 04:31 |
of the Dialogue Box and choosing Low
Texture.
| | 04:35 |
Locate Gray Paper, or whatever your file
may be called, click on the Open button.
| | 04:40 |
A scaling value of 100% is fine, I'm
going to match the Relief value that I
| | 04:43 |
applied using underpainting, which is 10.
You want the light to match as well, so
| | 04:48 |
it should be set to top.
And then go ahead and click OK, in order
| | 04:52 |
to except those values.
Now because we've done so much
| | 04:55 |
multiplying, the effect is too dark, as
you can see on screen, it just doesn't
| | 04:59 |
look like graphite.
So to brighten things up a little bit, go
| | 05:04 |
ahead and double click on the Adjustment
layer, which in this file its called
| | 05:08 |
Contrast.
You want to take the black point value
| | 05:12 |
down to 90, and then, go ahead and select
the Gama Value and change it to 0.7 in
| | 05:16 |
order to darken up the mid tones a little
bit, and that's it.
| | 05:22 |
Leave the white point set to 255, and
then you can go ahead and hide the
| | 05:25 |
Properties panel.
And then finally, I decided that I didn't
| | 05:28 |
really like this color image in the
background, I wanted to change it to gray
| | 05:32 |
scale.
So I'll go ahead and click on this bottom
| | 05:36 |
Portrait Layer to select it, then I'll
click the FX icon and choose Color
| | 05:40 |
Overlay.
Click on the Color Swatch, whatever it
| | 05:44 |
may be, red by default.
I'll change the color to Black, here
| | 05:48 |
inside the Color Picker Dialog Box, click
OK, and then change the blend mode to
| | 05:52 |
Saturation, that reduces the saturation
of the entire composition.
| | 05:58 |
In order to just effect the active layer,
switch to Blending Options over here in
| | 06:02 |
the left hand list, and then select this
top check box, Blend Interior Effects as
| | 06:06 |
Group, and that will reveal the color of
the underlying paper texture.
| | 06:12 |
Now go ahead and click OK in order to
accept that effect.
| | 06:16 |
The only thing left to do, is to add in
this brightness inside of both the eyes
| | 06:20 |
and the teeth.
And I'll show you how I pulled that off
| | 06:24 |
in the next movie.
| | 06:26 |
| | Collapse this transcript |
| Brightening eyes and teeth in a filtered portrait| 00:00 |
This movie has nothing what's so ever to
do with filtering.
| | 00:03 |
But, I do want to finish off this effect
by brightening up the eyes and the teeth,
| | 00:07 |
in order to achieve this effect here.
And this is largely a function of
| | 00:13 |
selecting these elements using the Color
range command.
| | 00:16 |
So I'll go ahead and switch over to my
image in progress, and if you are working
| | 00:20 |
along with me, scroll down a list so you
can see the Bottom Portrait Layer, go
| | 00:23 |
ahead and click on it to make it active,
and we want to make a copy of it by
| | 00:26 |
pressing Cntl+J or Cmd+J on the MAC.
Then go ahead and click on the bottom of
| | 00:33 |
the two portrait layers and Alter-option
click on its eye ball, so that we are
| | 00:36 |
viewing this layer independently of the
others.
| | 00:40 |
Next go ahead and right click on this
Double Box Icon, or on the FX icon,
| | 00:44 |
either will do, and choose this command
here Clear Layer Style.
| | 00:49 |
For what it's worth, my menu's appearing
in to columns because I have such a short
| | 00:52 |
screen.
But regardless of the height of your
| | 00:55 |
screen, you'll end up with this effect
here.
| | 00:58 |
Next, go on to the Select Menu and choose
the Color Range command.
| | 01:03 |
Set the fuzzyness value to it's default,
which is 40.
| | 01:06 |
You want localized Color Clusters to be
turned off.
| | 01:09 |
And then, go ahead and click someplace
inside the y to the i, and press the
| | 01:13 |
Shift key and drag around inside some
other portions of the eye as well.
| | 01:19 |
You may want to take care not to get any
of the red, that is the red veins in the
| | 01:22 |
eye, because that may open up the
selection too far.
| | 01:27 |
Then, Shift drag across the teeth like
so, taking care not to drift into the
| | 01:31 |
gums or the tongue or anything like that.
And you should end up with an effect that
| | 01:36 |
looks something like this, here inside
the preview.
| | 01:40 |
Make sure the Invert check box is turned
off, and then click OK to generate that
| | 01:44 |
initial selection.
Now switch over to the Channel's Panel,
| | 01:48 |
and go ahead and drop down to the Save
selection as Channel Icon, and press the
| | 01:51 |
Alt key or the Option key on a Mac and
click on it, so that we can name the
| | 01:54 |
channel as we create it.
And I'm going to go ahead and call this
| | 02:01 |
one eyes and teeth, and then click OK.
Now press Ctrl+ D, or Cmd+D on the Mac in
| | 02:06 |
order to deselect the Image, and switch
to the eyes and teeth channel, so that we
| | 02:10 |
can take a crack at modifying it.
And the easiest way to work where this
| | 02:15 |
particular image is concerned, is to grab
your rectangular Marquee Tool.
| | 02:20 |
And then generally select the regions
that your going to keep, such as this
| | 02:23 |
eye, and then Shift drag around this eye,
taking care of course to give yourself
| | 02:27 |
some margin.
And then Shift drag around the mouth like
| | 02:31 |
so, and now go up the the Select menu and
choose the Inverse command or press
| | 02:35 |
Ctrl+Shift+I or Cmd+Shift+ I on a Mac.
Press the D key in order to establish the
| | 02:41 |
default colors which when working with
masks are white for the foreground and
| | 02:44 |
black for the background.
And then press Ctrl+Backspace or
| | 02:49 |
Cmd+Delete on the Mac, in order to
produce this hilarious effect here.
| | 02:53 |
Now press Ctrl+D or Cmd+D on the Mac in
order to deselect the Image, and I'll
| | 02:55 |
Zoom in on the teeth.
Now what I want to do, is switch to the
| | 02:59 |
Lasso tool, that you can get either by
clicking on it, or pressing the Alt key
| | 03:05 |
of course.
I'll go ahead and drag around these top
| | 03:10 |
teeth like so in order to Select them,
and then Shift drag around these bottom
| | 03:13 |
teeth.
You don't have to get it exactly right by
| | 03:16 |
the way, for this specific effect.
Now let's go ahead and Zoom out a little
| | 03:20 |
bit.
And I'm going to Inverse this selection
| | 03:23 |
again, this time from the keyboard, by
pressing Ctrl+Shift+I, or Cmd+Shift+I on
| | 03:27 |
a Mac.
And now I'll press the M key to switch to
| | 03:30 |
the Rectangular Marquee tool, as you can
see here in the Toolbox, and then press
| | 03:33 |
the Shift and Alt keys.
I have to shift an option on a Mac, and
| | 03:38 |
drag around this region like so, in order
to make sure that your not messing up the
| | 03:42 |
eyes, which you can't see but are
currently selected up above.
| | 03:48 |
And that will select just this region
around the teeth, and now press
| | 03:51 |
Ctrl+backspace or Cmd+Delete on a Mac in
order to fill that area with black, and
| | 03:55 |
then you can click on the Image to
deselect it.
| | 03:59 |
Alright now let's scroll up to the eyes
and Zoom on in to this extremely scary at
| | 04:03 |
this point, left eye.
And I'll press the L key in order to grab
| | 04:07 |
my Lasso Tool, and I am going to press
and hold the Alt key, it's the Option key
| | 04:11 |
on the Mac and just click around here.
You don't need to select this little
| | 04:16 |
thing right there by the way, that's part
of it's flesh.
| | 04:19 |
Then go ahead and click, click all around
the eye, we don't need this junk over
| | 04:23 |
there.
We do need this stuff, and then you've
| | 04:26 |
got to take a little bit of care
underneath the eye, just a little bit
| | 04:28 |
though.
Again, you don't have to make the world's
| | 04:32 |
best selection, in order to select this
region like so.
| | 04:35 |
Now, you may ask me, how do I know I
don't need to select this stuff and, in
| | 04:38 |
particular, this thing right there?
How do I know that's not part of the eye?
| | 04:42 |
Well, at anytime, we can just switch back
to the image and take a look at it and
| | 04:45 |
go, oh yeah, that's something I do not
need to select.
| | 04:49 |
And you can see that I've selected
outside the eye, quite a bit actually
| | 04:52 |
into the eye lid, but that doesn't matter
because that region is already black
| | 04:55 |
inside of my mask.
So I will go and switch back to my mask
| | 05:00 |
in progress, and then I will press
Ctrl+Shift I or Cmd+Shift I in a Mac, in
| | 05:03 |
order to Reverse the selection so the eye
is the one thing that's not selected at
| | 05:07 |
this point.
Then I'll press the M key to switch to my
| | 05:12 |
Rectangular Marquee Tool, I'll press and
hold the Shift and Alt keys, that's Shift
| | 05:16 |
and Option on the Mac, and drag around
this region like so, in order to limit my
| | 05:19 |
selection, and now I'll press
Ctrl+Backspace or Cmd+Delete on the Mac,
| | 05:23 |
to fill that region with black.
Let's grab that last horrifying eye,
| | 05:29 |
we'll go ahead and scroll over to it,
press the L key in order to switch to the
| | 05:33 |
Lasso tool, press and hold the Alt key or
the Option key on a Mac, and, click
| | 05:36 |
around the eye like so, this is non eye
over there, so you don't need to select
| | 05:40 |
it.
This little thing right there is not eye
| | 05:45 |
either, it's some sort of eye liquid, so
you don't really have to select it if you
| | 05:48 |
don't want, it doesn't really matter.
And then go ahead and click around like
| | 05:53 |
so.
Go through the same ritual, Ctrl+Shift+I,
| | 05:56 |
Cmd+Shift+I on a Mac, press the M key to
switch to the Rectangular Marquee Tool.
| | 06:01 |
Press the Shift and Alt keys so the Shift
and Option keys on the Mac, Drag around
| | 06:05 |
this region like so.
That will limit your selection to just
| | 06:08 |
what you see here on screen.
Then press Ctrl+Backspace or Cmd+Delete
| | 06:12 |
on a Mac in order to fill that region
with black.
| | 06:16 |
And now if you Zoom out a little bit, you
should be able to see that you have just
| | 06:19 |
the eyes and teeth selected.
And if you end up with this thing on one
| | 06:24 |
of the eyes, where you didn't quite get
all of the white of the eye, then you can
| | 06:28 |
take advantage of this trick.
You can select the Brush tool, which you
| | 06:33 |
can get by pressing the B key,
Right-click inside the Image window, and
| | 06:36 |
reduce the Hardness value to 0%.
And then go ahead and press the Enter
| | 06:41 |
key, or the Return key on a Mac, to hide
that panel, and change the Blend Mode up
| | 06:45 |
here in the Options bar from Normal to
Overlay.
| | 06:50 |
Your foreground color should be white,
and then you can go ahead and paint that
| | 06:54 |
region away like so.
Once you're done, you may want to go
| | 06:57 |
ahead and reset your Blend Mode to
Normal, because generally speaking you
| | 07:00 |
don't want to paint with overlay.
So I'll switch back to the Rectangular
| | 07:05 |
Marquee, and I'll go ahead and load up
this guy as a selection by pressing the
| | 07:08 |
Ctrl key, or the Cmd key on a Mac, and
clicking on this eyes and teeth channel
| | 07:12 |
right here.
Then I'll switch back to the Archie B
| | 07:17 |
image, switch back to the Layers Panel as
well.
| | 07:20 |
Lets go ahead and Zoom out a little bit
so we can see what we're doing.
| | 07:23 |
And with that bottom most Portrait layer
selected, go ahead and drop down to the
| | 07:27 |
Add Layer Mask icon and click on it, and
that will mask away everything except the
| | 07:32 |
eyes and the teeth.
Now that looks pretty weird at this
| | 07:36 |
point, which is why we need to bring back
the other layers by pressing the Alt key,
| | 07:40 |
or the Option key on a Mac and clicking
on that eyeball in front of that bottom
| | 07:43 |
most Portrait layer.
And you'll end up with this effect here.
| | 07:49 |
Two changes I want to make, one is I
want to get rid of the color.
| | 07:52 |
And you can do that by pressing the Alt
key or the Option key on the Mac, for
| | 07:56 |
about the 15 time, and dragging Color
Overlay here, on to this bottom most
| | 07:59 |
Portrait Layer, and that will go ahead
and lead you way the colors you can see.
| | 08:06 |
And then, I'm going to change to Blend
Mode from this layer from Normal to
| | 08:09 |
Screen, in order to brighten things up
dramatically, and that's a little bit too
| | 08:13 |
much brightness in my opinion.
So, I'll press the Escape key, so that my
| | 08:18 |
Blend Mode Pop-up menu is no longer
selected here on the PC.
| | 08:22 |
And then I'll press the 5 key, to reduce
the opacity of this layer to 50%, and we
| | 08:27 |
end up with this effect here.
Now, press Shift F in order to switch to
| | 08:31 |
the Full Screen Mode.
And I'll Zoom in and you can see, that is
| | 08:35 |
the final version of the pencil sketch
effect, created in part by texturizing
| | 08:40 |
the foreground image, using its own paper
texture background.
| | 08:46 |
| | Collapse this transcript |
| Using the new Oil Paint filter| 00:00 |
The final filter that I'll demonstrate is
not part of the Filter Gallery.
| | 00:04 |
And in fact, is more powerful than
anything that the Filter Gallery offers.
| | 00:08 |
It goes by the name Oil Paint, and it's
capable of creating effects like the one
| | 00:12 |
you see here.
Let me show you how it works.
| | 00:16 |
I’ll go ahead and switch over to the flat
JPEG version of this image.
| | 00:19 |
And the first thing we want to do is
convert this guy to a smart object
| | 00:22 |
because you can apply Oil Paint as a
dynamic smart filter.
| | 00:26 |
So, I’ll go ahead and double-click on the
background to bring up the New Layer
| | 00:29 |
dialog box.
And I'll once again name this guy Skeptic
| | 00:32 |
and click OK.
And then, I'll right-click inside the
| | 00:35 |
image window with the Rectangular Marquee
tool and choose Convert to Smart Object.
| | 00:41 |
Next, go up to Filter > Oil Paint.
And, a caveat that you should know about
| | 00:46 |
this filter, is that it only works in the
RGB mode.
| | 00:51 |
So, you can't apply it to either CMYK or
gray scale images.
| | 00:55 |
And FYI, none of the Filter Gallery
effects work in CMYK either.
| | 01:00 |
Although they are compatible with gray
scale.
| | 01:02 |
Anyway, I'll go ahead and choose the Oil
Paint command.
| | 01:06 |
And then, I will zoom in on the image.
And what I recommend you do is you
| | 01:09 |
preview the effect at 100% zoom level
because, otherwise, you're not going to
| | 01:13 |
see in all together accurate preview.
You may end up seeing problems that other
| | 01:18 |
zoom ratios that don't actually exist.
And you may not end up seeing the
| | 01:22 |
problems that do exist.
The best way to understand these brush
| | 01:26 |
options right here, is to go ahead and
crank them up to their maximums, which is
| | 01:29 |
what I'm going to do for starters.
They all go as high as 10, as you can see
| | 01:35 |
right here.
And then, I'll take Stylization down, so
| | 01:40 |
you can see what happens.
If you reduce Stylization to its bare
| | 01:44 |
minimum here, you'll end up creating
these heaps of paint that don't actually
| | 01:48 |
adhere to the detail inside the image.
So, the globs end up crossing over the
| | 01:54 |
detail.
Whereas, as you increase the Stylization
| | 01:57 |
value, you can see how the brush strokes
are now flowing along with the detail.
| | 02:02 |
And so what Stylization is doing is it's
looking for areas of rapid transition,
| | 02:06 |
which are the edges, of course, inside
the image.
| | 02:10 |
And then it's painting along those edges
as you increase this value.
| | 02:15 |
So, more often than not, I'm guessing,
you're going to want to crank that value
| | 02:19 |
up to its maximum.
But, obviously, that's entirely up to
| | 02:23 |
you.
The cleanliness value determines the
| | 02:25 |
amount of smear associated with the
brush.
| | 02:28 |
So, if you crank that value down, you end
up smearing the colors to a lesser degree
| | 02:32 |
as you can see right here.
And you also end up following the
| | 02:36 |
contours to a lesser degree.
But at this point, with a low cleanliness
| | 02:40 |
value and a high Stylization value, we
have these very smooth edges around these
| | 02:44 |
paint blobs.
As you increase the cleanliness value,
| | 02:48 |
you're going to smear the colors a longer
distance.
| | 02:51 |
Although, you may end up increasing the
edge detail as well.
| | 02:55 |
Notice that we've got this edge, this
line, going directly through this guy's
| | 02:59 |
face.
And that's in part because this is a
| | 03:02 |
low-detail area.
So, it goes right down here, and then it
| | 03:05 |
shifts over to the left a little bit and
goes down some more, as you can see.
| | 03:09 |
Whereas, as soon as we get into the eye,
that edge disappears, because we have
| | 03:14 |
this detail contouring.
So, that's something to watch out for as
| | 03:18 |
you work.
For the sake of demonstration, though,
| | 03:21 |
I'm going to go ahead and crank that
value up.
| | 03:23 |
The scale value determines the size of
the brush strokes which is fairly obvious
| | 03:26 |
of course.
So, if you go small you're going to get
| | 03:29 |
smaller brush strokes.
If you go high you're going to get bigger
| | 03:32 |
ones.
The thing to bear in mind when you're
| | 03:34 |
working with scale is how well is this
image going to print?
| | 03:39 |
So, if you’re trying to create a screen
image, you can get away with lower scale
| | 03:42 |
values.
However, if you’re trying to create an
| | 03:45 |
image for print, and you want it to look
like an oil painting, you actually want
| | 03:48 |
these brush strokes to show up.
Then, you’re more likely than not going
| | 03:53 |
to want to crank this value up.
Again, I'll take this up to ten, so that
| | 03:57 |
we can check out the final value here,
which is brush detail.
| | 04:01 |
If you reduce the brush detail value,
you're going to get these very smooth
| | 04:05 |
globs of paint.
That look less like brush strokes and
| | 04:09 |
more like paint being laid down with a
pallet knife.
| | 04:12 |
If you wanted it to look like brush work,
then you're going to have to increase
| | 04:15 |
that brush detail value.
The Lighting options are a little more
| | 04:20 |
obvious.
You've got a direction option, right
| | 04:23 |
here, for the direction of the light
source and you can change that value
| | 04:26 |
anywhere from 0 to 360 degrees, not
particularly surprising, and then you've
| | 04:31 |
got the shine value.
So, if you want to add some contrast to
| | 04:36 |
your brush strokes, as if the painting
has some sort of gloss assigned to it,
| | 04:40 |
then you can crank that value up or you
can remove the shine entirely from the
| | 04:44 |
effect in order to create smooth coloring
as you see here.
| | 04:50 |
The values I came up with, for this
image, were 10 for Stylization, and then
| | 04:53 |
I decided to take the scale value down a
little bit.
| | 04:57 |
You can't really see what we're doing
though, until I increase the shine.
| | 05:01 |
So, I'll go ahead and take this value up
to 2, let's say.
| | 05:04 |
And then I took the scale down to 6.5 and
I reduced the brush detail to 5.
| | 05:11 |
I'll go ahead and change the direction of
my light source to 120, which ends up
| | 05:14 |
bringing out this line once again, this
vertical line.
| | 05:18 |
This seam, really, is what it is, inside
of the painting.
| | 05:23 |
And to help hide that a little I took the
Cleanliness value down to 7.
| | 05:27 |
And you can see that that line all but
completely disappears.
| | 05:32 |
So, these are my values for what it's
worth.
| | 05:35 |
You can go your own way, 10, 7, 6.5, 5,
120, and 2.
| | 05:39 |
Now, I'll go ahead and click OK in order
to accept that effect.
| | 05:43 |
Typically, when you're working with this
filter, you'd want to keep an eye on all
| | 05:46 |
the details, not just the central portion
of the face.
| | 05:49 |
I was just honing in on that area to show
you the seam, but check out this dude's
| | 05:53 |
hair.
It looks totally great.
| | 05:56 |
Now, the problem with working inside the
Oil Paint filter is there is no preview,
| | 06:00 |
so you can't turn on and off the preview
to see a before and after.
| | 06:04 |
But you can do that after you've applied
the filter.
| | 06:07 |
So, I could turn off the eye for the
smart filter in order to see the original
| | 06:11 |
hair, and then I'll turn it back on to
see the stylized hair.
| | 06:16 |
And so, at least where the hair is
concerned, the oil paint effect looks
| | 06:20 |
absolutely great.
One last point to bear in mind is the
| | 06:24 |
corners.
Check out how the oil paint filter Has
| | 06:27 |
painted around inside of the corners, and
it's even more obvious down here in the
| | 06:31 |
bottom left corner.
So, I'll go ahead and scroll down right
| | 06:35 |
at this location.
And you can see that we've got this big
| | 06:38 |
thick edge.
If you want that to go away, what I
| | 06:40 |
suggest you do is measure it with your
Rectangular Marquee tools.
| | 06:44 |
So, just go ahead and draw a marquee
around this area.
| | 06:47 |
And keep an eye on that heads up display
there.
| | 06:50 |
And it's showing me that the height of my
marquee, which is all I'm interested in,
| | 06:54 |
is 26 pixels.
So I need to crop away approximately 26
| | 06:58 |
pixels all the way around.
And I'm going to do that as follows.
| | 07:02 |
So, I'll go ahead and click off the image
to deselect it.
| | 07:04 |
Then, I'll go up to Image > Canvas Size.
I'm multiplying 26 times 2, which is
| | 07:09 |
actually 52 but 50's close enough.
So, I'll turn on the Relative checkbox,
| | 07:14 |
very important.
Make sure the center box is selected and
| | 07:17 |
then your working in pixels and change
the width value to negative 50 and then
| | 07:22 |
I'll take the high value to negative 50
as well in order to crop away 25 pixels
| | 07:26 |
on all sides.
And then go ahead and click OK.
| | 07:32 |
You'll get this warning, which isn't
accurate.
| | 07:34 |
Nail clipping is going to occur.
So, just go ahead and click on proceed in
| | 07:38 |
order to hide 25 pixels all the way
around.
| | 07:41 |
And you'll see that all but gets rid of
that edge.
| | 07:45 |
There's still this little pixel here, but
I'm not too concerned about that.
| | 07:48 |
Just so we can see what we've done here.
I'll go ahead and press Shift+F to switch
| | 07:53 |
to the full screen mode.
And I'll center the zoom by pressing
| | 07:57 |
Ctrl+0 and then press Ctrl+1 in order to
zoom into 100%.
| | 08:01 |
And that, folks, is at least one result
of using the Oil Paint filter here inside
| | 08:06 |
Photoshop.
| | 08:07 |
| | Collapse this transcript |
| Customizing an effect with a filter mask| 00:00 |
The final thing I'll show you is how you
might go about customizing an oil paint
| | 00:04 |
effect and we'll be doing so using a
mask.
| | 00:08 |
So imagine that I'm crazy about this
effect in his hair, and his eyebrows, and
| | 00:12 |
so forth.
But I want to mask the effect away to an
| | 00:16 |
extent inside of his face.
Well, in that case, I would use the
| | 00:19 |
existing channel information associated
with this image in order to select the
| | 00:23 |
darkest areas.
So, I'll switch over to the Channels
| | 00:27 |
panel.
And then, let's take a look at what we've
| | 00:29 |
got.
We've got the red channel here, in which
| | 00:32 |
he's very bright, and his hair is fairly
dark.
| | 00:34 |
And then, his skin darkens up in the
green channel.
| | 00:37 |
And gets a little bit darker in the blue
channel.
| | 00:40 |
My favorite is the green channel.
Because, let's say I want to mask away
| | 00:45 |
the effect inside of the eyes, but I
want to keep it in the dark hair and so
| | 00:48 |
forth.
So I'm going to go ahead and grab that
| | 00:51 |
green channel and duplicate it by
dragging it and dropping it onto that
| | 00:54 |
little page icon at the bottom of the
panel.
| | 00:58 |
And then, I'll press Ctrl+I or Command+I
on the Mac in order to invert the image,
| | 01:02 |
and that way, we'll be able to select the
hair as opposed to deselect it.
| | 01:09 |
And now, we need to increase the contrast
of the image and the best way to do that
| | 01:11 |
is using the levels command.
So go up to the Image menu, choose
| | 01:15 |
Adjustments, and then choose Levels, or
you can press Ctrl+L, or Command+L on a
| | 01:18 |
Mac.
And I just noodled around with these
| | 01:22 |
settings, but I ended up taking the black
point value up to 60, and then I tabbed
| | 01:26 |
over to the white point value, and
ultimately took it down to 180 in order
| | 01:30 |
to produce this effect, then click OK.
Now, what I like to do when I modify a
| | 01:37 |
mask using the Levels command is name the
mask.
| | 01:41 |
After the settings I just applied,
because you have to apply a Static
| | 01:44 |
command when you're working inside
Independent channels.
| | 01:48 |
So I'll go ahead and rename this guy
60/1.00/180, because those were the
| | 01:53 |
settings I just applied.
Now, I want to load up this mask as a
| | 01:57 |
selection, so I'll press the Ctrl key or
the Command key on the Mac and click on
| | 02:01 |
the mask in order to select it.
Now, let's switch back to the RGB Image
| | 02:07 |
up here at the top of the panel, and
then, switch back to the Layers panel.
| | 02:11 |
Now, I want to apply this selection as a
Filter Mask.
| | 02:15 |
And the easiest way to do that is to get
rid of the existing mask, and then
| | 02:18 |
replace it with this new one.
So right-click inside the white thumbnail
| | 02:23 |
and choose Delete Filter Mask.
And then, right-click on the words, Smart
| | 02:28 |
Filters, and choose Add Filter Mask.
And you'll end up transferring that mask
| | 02:33 |
into this location here.
And notice, now, that we still have the
| | 02:36 |
oil paint effect inside of his hair.
But we don't have nearly as much inside
| | 02:41 |
of his face as we did before.
We're left with only the dark details
| | 02:45 |
from the oil paint effect, because we use
the oil paint effected image in order to
| | 02:50 |
select itself.
So in other words, because we inverted
| | 02:54 |
that channel, we're selecting the darkest
stuff, and so, the darkest stuff is all
| | 02:58 |
that we're seeing.
If you want to bring back some of the
| | 03:02 |
light details, where the oil paint effect
is concerned.
| | 03:06 |
Then, with the filter mask selected, as
it is here, go up to the Filter menu and
| | 03:10 |
choose Blurm and then choose Gaussian
Blur.
| | 03:14 |
And I ended up landing on a value of 12
pixels as you see here, and then, go
| | 03:17 |
ahead and click OK to accept that value
and notice that brings back some of those
| | 03:22 |
line details.
While leaving the hair completely
| | 03:27 |
impacted by the effects.
So we're still seeing the oil paint
| | 03:30 |
effect in his eyebrows, inside of his
irises, around his eyelashes, and of
| | 03:34 |
course, most definitely, inside that
hair.
| | 03:39 |
I'll once again press Shift+F in order to
switch to the full screen mode.
| | 03:43 |
And, change my zoom a little bit, so that
we can see more of the image at a time.
| | 03:46 |
And that's at least one way that you can
customize an oil paint effect.
| | 03:51 |
In this case, by applying a filter mask
here inside Photoshop.
| | 03:56 |
| | Collapse this transcript |
|
|
36. Lighting EffectsShining light onto a photograph| 00:00 |
The topic of this chapter is the lighting
effects filter, which allows you to shine
| | 00:04 |
light onto a photographic image.
Which is why you often see folks use it
| | 00:08 |
to simulate a photograph hanging in a
gallery.
| | 00:12 |
And between you and me that's a little
bit cheesy, especially given how much
| | 00:15 |
more you can do with the filter.
For example, you can use lighting effects
| | 00:19 |
to change the fundamental lighting of a
scene.
| | 00:22 |
In the following movies, we'll take this
image here, and we'll relight it like so.
| | 00:27 |
And then, we'll apply a custom vignetting
affect, in which the vignette is not
| | 00:30 |
centered inside the image, but is rather
centered on the models face.
| | 00:34 |
You can also use lighting effects to
create photo-realistic embossing, which
| | 00:39 |
is why we're going to emboss this
watermark onto the image and then we'll
| | 00:42 |
turn the image into a kind of credit
card.
| | 00:47 |
In just seven movies, I'll show you
everything you can do with lighting
| | 00:52 |
effects inside Photoshop.
| | 00:54 |
| | Collapse this transcript |
| Introducing the Lighting Effects filter| 00:00 |
In this movie, I'll introduce you to the
Lighting Effects filter.
| | 00:03 |
And along the way, we'll transform this
somewhat flat portrait shot from the
| | 00:07 |
Fotolia Image Library into this more
dynamically lit scene here, which also
| | 00:11 |
offers some higher contrast.
And the great thing about lighting
| | 00:15 |
effects is, if you get it right, you can
make the scene appear as if it was really
| | 00:19 |
lit that way when it was captured.
I'll go ahead and switch back to my
| | 00:24 |
starter image here.
Now you can apply lighting effects as an
| | 00:27 |
editable smart filter, but before you do,
you need to convert your image into a
| | 00:30 |
smart object.
So I'll double-click in the background,
| | 00:34 |
here inside the Layers panel, in order to
convert it to a new layer, call it woman,
| | 00:37 |
and click OK.
Then, using the Rectangular Marquee tool,
| | 00:41 |
I'll right-click inside the image window,
and choose Convert to Smart Object.
| | 00:46 |
The next step is to go up to the Filter
menu, choose Render, and choose Lighting
| | 00:51 |
Effects.
And Lighting Effects, just like the Blur
| | 00:54 |
Gallery, is one of these filters that
takes over your entire screen.
| | 00:58 |
Now, by default, you just have one
spotlight.
| | 01:01 |
And I'll explain what's going on with the
lights in just a moment.
| | 01:04 |
But I typically like to start with one of
the presets, and just so you know what
| | 01:08 |
kind of lights are available to you, I'll
start with Blue Omni here.
| | 01:13 |
And what we end up with is a single point
light, and notice that it's called Point.
| | 01:17 |
At the top of the Properties panel, you
also have two others that you can work
| | 01:21 |
with, and you can switch between them as
well.
| | 01:24 |
I'm going to stick with Point, however,
so I can demonstrate how it works.
| | 01:28 |
Notice that you can drag inside of the
light to move it to a different location.
| | 01:32 |
And you can also drag on this ring.
You need to make sure that it turns
| | 01:36 |
yellow, so that you can scale the light
source, so that it covers a smaller area
| | 01:39 |
or a larger area.
But you cannot change its direction, and
| | 01:44 |
that's because a Point Light is like a
bare light bulb.
| | 01:48 |
It's going in all directions away from
the light.
| | 01:52 |
Another option, I'll go ahead and switch
here to Parallel Directional.
| | 01:57 |
You'll see these two little lights right
here, and if you hover over them you'll
| | 02:00 |
see one's Infinite Light One and the
other's Infinite Light Two.
| | 02:04 |
You can click on these guys to switch
between them, or you can see your lights
| | 02:07 |
over here in the Lights panel, and you
can click here to switch between the
| | 02:10 |
lights as well.
Now notice, if I drag anywhere inside the
| | 02:14 |
Preview, whether I drag on that little
ball there, or whether I drag in the
| | 02:18 |
center of this thing or anywhere else,
I'm changing the direction of the light,
| | 02:22 |
but I am not changing its position.
So in many ways, an Infinite light is the
| | 02:29 |
opposite of a Point light.
Think of sunlight.
| | 02:33 |
Basically, the sun is for all intents and
purposes, infinitely far away.
| | 02:37 |
You can't alter its position.
You can just alter its direction with
| | 02:41 |
respect to the earth, for example.
And then finally, I'll go ahead and
| | 02:45 |
switch my Preset this time to Crossing.
Here, we have spotlights.
| | 02:50 |
And I'll go ahead and zoom a little
farther out so that we can see them in
| | 02:54 |
action here.
When you drag outside of a spotlight like
| | 02:58 |
so, you can rotate it, and you can also
change its position by dragging somewhere
| | 03:03 |
inside the light.
It's like a real spotlight.
| | 03:07 |
You can point it at something, and you
can move it to a different location.
| | 03:11 |
Now this handle is pretty much the light
source.
| | 03:14 |
At least you can think of it that way.
If you're going to drag it to a new
| | 03:18 |
location, you want to make sure that you
see the words Scale Width, even though it
| | 03:21 |
seems to me we're really scaling the
length of the footprint here.
| | 03:25 |
But in any case, you want to make sure
you see that, because if I drag just a
| | 03:28 |
little off, like so, and it says Move
like it does now, then I'll move the
| | 03:31 |
light source to a different location, so
you've got to be careful.
| | 03:37 |
I'll make sure I can see Scale Width, and
then I'll drag this guy down.
| | 03:41 |
And the opposite handle's going to move
as well.
| | 03:43 |
And then notice these side handles, which
I think should be called Scale Width, but
| | 03:47 |
they're called Scale Length, you can go
ahead and drag them to different
| | 03:50 |
locations to open up that light source
like so.
| | 03:54 |
You also have control over the intensity
of the light, and one way to change the
| | 03:58 |
intensity is to drag inside this little
ring right here.
| | 04:02 |
And it'll actually say Intensity when you
can modify the value.
| | 04:05 |
And then you can just go ahead and drag
inside this ring.
| | 04:09 |
And I'm looking for a specific value of
25, actually.
| | 04:14 |
And that Intensity Value will also show
up here inside the Properties panel.
| | 04:17 |
Notice that you have control over the
color of the light, but I'm going to
| | 04:20 |
leave mine white.
And then finally, you have this Hotspot
| | 04:24 |
option.
The Hotspot is this ring right here.
| | 04:28 |
The problem is that the option doesn't
really work in this particular version of
| | 04:32 |
CS6.
I have a version of CS6 that was updated
| | 04:35 |
with the Creative Cloud, and that broke
Hotspots.
| | 04:38 |
So you can see, I can reduce the value,
and I can see the ring change .
| | 04:42 |
.
.
| | 04:43 |
But when I release, I don't get any
different result.
| | 04:45 |
I get the same result I had before, which
is how it was set up by default, just so
| | 04:49 |
that hopefully you and I can get similar
results.
| | 04:53 |
Next, we have these values down here.
And by the way, you can give yourself a
| | 04:56 |
little more room in the Properties panel
by dragging this horizontal line between
| | 04:59 |
the two panels down.
And all of these options, Exposure
| | 05:04 |
through Ambiance, they affect the actual
object that you're lighting.
| | 05:09 |
So, they're material settings.
So if you increase the Exposure value,
| | 05:13 |
you're actually adding light to the
object itself.
| | 05:16 |
You can also reduce the value if you want
to take some of that light away.
| | 05:20 |
I'm going to go ahead and leave that
option set to zero.
| | 05:23 |
What's important to note is this Colorize
option has nothing to do with exposure.
| | 05:27 |
It has everything to do with Ambiance
down here.
| | 05:31 |
Now you also have a Gloss setting, and
notice as soon as I change that setting,
| | 05:34 |
even just a little bit, I get an entirely
different result, again, inside this
| | 05:38 |
version of the software.
But this idea is you can either have a
| | 05:43 |
very glossy scene, or you can drag this
all the way down to negative 100 to have
| | 05:47 |
a matte scene.
And I'm going to leave it set to negative
| | 05:51 |
100, in fact.
Metallic, you can think of as being shiny
| | 05:55 |
metal when it's set to 100, or a more
plastic effect when you have it set to
| | 05:59 |
negative 100.
I'm going to leave that guy set to
| | 06:03 |
positive 100, however.
And then we come to Ambiance.
| | 06:06 |
First, you want to set the color of the
Ambiance, because notice that it's
| | 06:09 |
cranked up to 100 right now, but if I
make a change to the Ambiance value,
| | 06:11 |
nothing happens on-screen.
And that's because the color of the
| | 06:15 |
ambient light for this particular Preset
is black.
| | 06:19 |
So I'm going to go and crank this guy
back up to 100%, and then I'll click on
| | 06:22 |
that Color swatch.
Now, if you subscribe to the Creative
| | 06:26 |
Cloud, you're going to see this 32 bit
Color Picker.
| | 06:30 |
If you don't, then you'll just see this
standard Color Picker.
| | 06:33 |
I'm going to stick to modifying these HSB
values down here, just so that you and I
| | 06:37 |
can once again get the same results,
regardless of which upgrade to the
| | 06:40 |
software you may be using.
I'm going to change the Hue value to 210
| | 06:45 |
degrees, raise the saturation value to
100%, and take the brightness value up to
| | 06:49 |
100% as well.
And you can see that ends up infusing the
| | 06:53 |
scene with that blue color.
Now, click OK.
| | 06:56 |
Now, the great thing about Ambiance is
you can either crank it up like so, in
| | 07:00 |
order to infuse the scene with that blue,
or you can take it to a negative value,
| | 07:04 |
as we see here, in order to infuse the
scene with a complementary color, in our
| | 07:08 |
case, this orange hue.
Anyway, I'm going to take it to negative
| | 07:14 |
10, so we have a little bit of warmth
associated with the scene.
| | 07:18 |
Now all of these values, Exposure through
Ambiance, as I say, they effect the
| | 07:21 |
material of the image.
And as a result, if you change any of
| | 07:25 |
these values for one of your light
sources, then you'll change them for
| | 07:28 |
both.
That's not true for either Intensity or
| | 07:32 |
Hotspot, or the color of the light.
Now I'm going to switch back to Spotlight
| | 07:37 |
1 here, and I'm going to go ahead and
drag it around as well, move it ever so
| | 07:41 |
slightly over to the left here.
And then I want to grab Scale Width, make
| | 07:47 |
sure you see those words.
So you can drag it down to about there,
| | 07:52 |
if you will.
Also, go ahead and drag this Scale Length
| | 07:56 |
value out to about here, so that we have
a pretty open light source, like this.
| | 08:02 |
And I'm also going to change this
Intensity setting for this light source.
| | 08:05 |
I'm going to take it up to 40.
Now notice, I'm taking care that I don't
| | 08:08 |
make the scene too hot.
I don't want to have any blown
| | 08:11 |
highlights.
You never do when you're lighting a
| | 08:13 |
scene.
And you don't have a histogram inside
| | 08:16 |
this window, so you just have to keep an
eye on things.
| | 08:19 |
Notice that you can add a light by
clicking on one of these icons.
| | 08:22 |
So I could add a new spotlight or a new
point light or a new infinite light.
| | 08:27 |
And then finally, I'm not going to click
on this, but you can reset the current
| | 08:30 |
light to its appearance.
Either the one associated with the
| | 08:34 |
preset, in my case, or its appearance
when you first visited the Dialogue Box,
| | 08:38 |
in case you come back to your settings.
Now I'm going to go ahead and click OK in
| | 08:44 |
order to apply that light.
And notice that I'm zoomed out from my
| | 08:48 |
image, and that's because I was zoomed
out inside the Lighting Effects window as
| | 08:51 |
well.
So I'll just go ahead and press Ctrl 0,
| | 08:54 |
or Cmd 0 on a Mac, in order to zoom in a
bit.
| | 08:57 |
And then, I'm going to change my blending
settings by double clicking on the little
| | 09:01 |
slider icon to the right of the words
Lighting Effects, and I'll change the
| | 09:05 |
Mode from Normal to Overlay, like so.
And then, I'll take the opacity value
| | 09:11 |
down to 66%, in order to create this
version of the scene.
| | 09:16 |
Now, I'll click OK.
And that, friends, is at least one way to
| | 09:20 |
work with the Lighting Effects filter,
here inside Photoshop.
| | 09:24 |
| | Collapse this transcript |
| Creating a custom, colorful vignette| 00:00 |
In this movie, I'll show you how to
create custom vignettes using Lighting
| | 00:04 |
Effects.
So, unlike the vignetting controls in,
| | 00:07 |
say, Camera Raw, which are pretty
limited, you don't have control over the
| | 00:10 |
color, for example, over the vignette and
it's always centered.
| | 00:15 |
Whereas, with Lighting Effects, you can
move the light source anywhere you want.
| | 00:19 |
So, you can have non-uniform degrees of
darkness in all four corners of the
| | 00:22 |
image.
So, for example, here's the original
| | 00:25 |
version of this photograph.
Here's the Lighting Effect we just
| | 00:28 |
applied.
And here's the Lighting Effect we're
| | 00:31 |
going to apply in this movie.
So, you can see just how flexible this
| | 00:35 |
filter really is.
I'll back up to the results of the
| | 00:40 |
previous movie and I'll double-click on
Lighting Effects here inside the layers
| | 00:44 |
panel in order to bring up the big
window.
| | 00:48 |
And you can either throw away your
existing spotlights or you can just turn
| | 00:51 |
them off.
So, I'm going to just turn off each one
| | 00:54 |
of them.
And with both lights off, the scene is
| | 00:57 |
going to turn black, obviously.
Now you want to go ahead and add a point
| | 01:02 |
light by clicking in the Add New Point
Light icon up here at the top of the
| | 01:05 |
window.
And I'm going to drag this point light to
| | 01:09 |
right about there at the tip of her nose.
And I might scale it ever so slightly.
| | 01:15 |
I want it to be about 643, something
along those lines.
| | 01:20 |
And now I'm going to change the color of
my point light by clicking on the white
| | 01:23 |
swatch.
And I want to warm up the scene quite a
| | 01:26 |
bit here.
So, I'm going to dial in a Hue value of
| | 01:29 |
30 degrees, a saturation of 25%, and I'll
leave the brightness, say, up to 100%.
| | 01:35 |
Then I'll click OK.
And now I'm going to take that Intensity
| | 01:38 |
value up to 35 in order to produce this
effect here.
| | 01:42 |
Now, we need more darkness associated
with the background.
| | 01:46 |
So, I'm going to reduce the ambient value
here to negative 50, this time around.
| | 01:51 |
But that gives us a lot more orange.
And I actually want to counterbalance the
| | 01:57 |
ambient light for the point light, so I
want to make it cool.
| | 02:00 |
And so, I'll do that by clicking on this
little blue color swatch.
| | 02:04 |
And then, I'll change the Hue value to 30
degrees this time, so you can see we're
| | 02:08 |
getting the opposite complementary color.
And also notice, by the way, if I reduce
| | 02:14 |
the Brightness value to 50, I'm actually
brightening things up.
| | 02:20 |
Because, since I sent the ambiance to a
negative value, as a result these options
| | 02:24 |
are producing the opposite effects.
And I'm going to take the saturation down
| | 02:29 |
to 50 as well.
And in this case, we do actually lose
| | 02:32 |
saturation inside the scene.
And now, I'll click OK in order to accept
| | 02:36 |
the result.
Now, I'm going to leave the other option,
| | 02:40 |
set as is.
And then I'll click OK in order to apply
| | 02:43 |
that modification to my image.
Now, I'm seeing a different result on
| | 02:46 |
screen because I had set the blend mode
to Overlay and I'm going to change that
| | 02:49 |
right now by double-clicking on the
little slider icon.
| | 02:54 |
And I'm going to set the mode to normal
this time around.
| | 02:57 |
And I'm going to leave the opacity set to
66%.
| | 03:01 |
Now click OK.
Now, I still want to enhance the lighting
| | 03:04 |
further and I'm going to do so using a
second application of Lighting Effects.
| | 03:08 |
So I'll go up to Filter menu and just use
the very first command or you can press
| | 03:12 |
Ctrl+F or Cmd+F on the Mac, because we're
working with a smart object that brings
| | 03:17 |
the window.
At this point, notice that the first
| | 03:21 |
spotlight is selected even though it's
turned off, which makes it kind of
| | 03:24 |
difficult to select the point light
because you may end up selecting one of
| | 03:27 |
the other spotlights instead.
And if that bothers you, then you can
| | 03:31 |
just delete these guys.
And you do so by clicking on one of the
| | 03:34 |
spotlights and just clicking on the
trashcan in the lower right corner.
| | 03:38 |
And that will automatically select
spotlight two, and so then you can click
| | 03:41 |
on the trashcan to delete it as well.
Then, you'll just be left with just one
| | 03:46 |
point light.
And this time, I'm going to take the
| | 03:48 |
intensity up to 40.
Otherwise, I'm not going to change
| | 03:51 |
anything.
going to stick with the previous
| | 03:53 |
settings.
And I'll click OK, just to create a
| | 03:56 |
second application of that filter.
Now, double-click on it's slider icon
| | 04:00 |
over there on the right hand side.
And this time, switch the mode to
| | 04:05 |
overlay, as before.
And I'm going to reduce the Opacity value
| | 04:10 |
to 50% in order to produce this effect
here.
| | 04:14 |
Then go ahead and click OK.
And that is how you create a custom
| | 04:18 |
vignetting effect using the Lighting
Effects filter.
| | 04:22 |
| | Collapse this transcript |
| Creating an angled watermark pattern| 00:00 |
In this movie, I will show you how to use
lining effects to create 3D and basing
| | 00:04 |
using a texturemate.
So what we going to do is take this image
| | 00:08 |
again.
And we're going to throw a water mark, so
| | 00:10 |
it's another water mark technique.
(UNKNOWN) when we were looking at it
| | 00:15 |
smart objects back in the advance course,
but this one allows us to create more
| | 00:18 |
sculptural text as in the case of this
effect here.
| | 00:23 |
And so, what we're going to do is
establish the watermark first, and then
| | 00:26 |
I'll show you how to light it.
So, I've go this image right here, that
| | 00:30 |
I've created in advance, that contains
some text that's set in Adobe Caslon,
| | 00:34 |
against a white background.
We need to turn it into a repeating
| | 00:38 |
pattern.
That alternate is in the case of these
| | 00:40 |
watermarks right here.
And to do that, you want to go ahead and
| | 00:44 |
Shift+Click in the background, so both
the text layer and the backgrounds are
| | 00:48 |
selected.
And then, right-click inside the image
| | 00:51 |
window with the Rectangular Marquis tool
and choose Convert to Smart Object.
| | 00:56 |
Now, if I drop down to the lower left
corner of the window and click in this
| | 00:59 |
doc area.
I can see that my image measures 800
| | 01:02 |
pixels wide by 200 pixels tall.
So, here's what I'm going to do.
| | 01:07 |
I'll go up to the Filter menu, choose
Other and choose Offset.
| | 01:12 |
And then, you want to dial in half of the
width of the image into the horizontal
| | 01:15 |
option, and the entire height of the
image into the vertical option.
| | 01:20 |
So we've got plus 400 for horizontal and
plus 100 for vertical.
| | 01:23 |
And that goes ahead and breaks the type
across the image like so.
| | 01:28 |
But we're not losing anything whatsoever.
So this will amount to a seamlessly
| | 01:32 |
repeating pattern.
Now, click OK.
| | 01:36 |
Now we need to get back the original
text.
| | 01:38 |
And you do that by going over to the
little finder icon in the Layers panel.
| | 01:42 |
Double-clicking on it and changing the
mode from Normal to Multiply.
| | 01:47 |
And you end up getting this effect here.
So, in other words, we're keeping the
| | 01:51 |
original text in the background and we're
adding this new stuff in the foreground.
| | 01:56 |
Now, click OK.
Now, we need to turn this text into a
| | 01:59 |
pattern, and you do that by going up to
the Edit menu and choosing the Define
| | 02:03 |
Pattern command.
And we don't need the .psd, so I'll get
| | 02:08 |
rid of that.
Just leave the name Fotolia URL and then
| | 02:12 |
click OK.
Now, we need to apply the pattern inside
| | 02:16 |
of this image here.
So, first up is to press the Alt key or
| | 02:19 |
the Option key on a Mac, and click the
black white circle at the bottom of the
| | 02:22 |
options panel, and then go ahead and
choose Pattern.
| | 02:26 |
And because you have the Alt or Option
key down, that brings up the New Layers'
| | 02:29 |
dialog box.
And I'm just going to change the name of
| | 02:32 |
this guy to URLs, then click OK.
And Photoshop will most likely select the
| | 02:37 |
last pattern, the one you just created.
In which case, you will see that pattern
| | 02:41 |
in the background.
Then click OK.
| | 02:43 |
Now, I want to rotate this pattern, and
in order to do that, I need to make my
| | 02:47 |
image a lot bigger, because after all, if
I just set in rotating it right now, then
| | 02:51 |
I'll end up with some empty wedges in the
corners.
| | 02:56 |
I'll go up to the Image menu, and choose
the Canvas Size command.
| | 03:01 |
And then, you want to make sure your
relative check box is turned on and that
| | 03:04 |
you're working with pixels.
And then, go ahead and change both the
| | 03:08 |
width and height values to 1000, like so,
and click OK.
| | 03:12 |
And that will dramatically expand the
size of the image as you can see here.
| | 03:18 |
Now, you can't rotate a pattern layer, at
least not directly.
| | 03:21 |
So we need to convert this layer to a
smart object once again, by
| | 03:24 |
right-clicking inside the image window
and choosing Convert to Smart Object.
| | 03:29 |
And now at this point, you can go back to
the Image Menu and choose the Canvas Size
| | 03:33 |
command.
And reduce the size of the canvas to its
| | 03:37 |
previous size.
So, change both the width and height
| | 03:39 |
values this time around to negative 1,000
like so.
| | 03:43 |
When you click OK, Photoshop is probably
going to warn you that some clipping may
| | 03:46 |
occur.
Not really.
| | 03:48 |
Actually, the background is going to be
clipped, but it's just got a bunch of
| | 03:51 |
empty stuff in it anyway, so it doesn't
matter.
| | 03:54 |
So go ahead and click proceed.
And now, we still have that big pattern
| | 03:58 |
data that we did just a moment ago.
It's been preserved by the smart object.
| | 04:03 |
So we can go onto the Edit menu and
choose the Free Transform command, or
| | 04:07 |
press Ctrl+T or Command+T on a Mac, and
you can see that the pattern is still
| | 04:10 |
nice and big.
And now, just rotate it down and to the
| | 04:14 |
right a bit, like so, and I'm looking for
red tape value of about 20 degrees
| | 04:18 |
actually is going to work for me and I
can see if there in heads up display if I
| | 04:22 |
can hit it.
There it goes.
| | 04:27 |
Then you can move your pattern to any
location you like, so maybe I'll just put
| | 04:30 |
it there so the word deke is kind of in
the lower right corner.
| | 04:34 |
And then press the Enter key or the
Return key on a Mac to apply that change.
| | 04:39 |
Now, we need to save off this pattern as
an independent channel.
| | 04:42 |
And you do that by going to the channels
panel and the reason we have to do this
| | 04:46 |
is that is what lighting effects
requires.
| | 04:49 |
And make a copy of any of the channels.
So, I'm just going to grab red and drag
| | 04:53 |
it and drop it on the little page icon.
And then, we'll go ahead and call this
| | 04:58 |
new channel URLs, like so.
And then, you can click on RGB once
| | 05:01 |
again, in order to switch back to the
full color image.
| | 05:05 |
Return to the Layers panel and then turn
off the URLs later, because we're done
| | 05:08 |
with it.
And once again, click on Background.
| | 05:13 |
That takes care of the creation of the
URL texture map.
| | 05:17 |
In the next movie, I'll show you how to
apply that URL pattern texture using
| | 05:21 |
lighting effects.
| | 05:24 |
| | Collapse this transcript |
| Lighting a watermark texture map| 00:00 |
In this movie, we'll take that pattern of
URL's that we created in the previous
| | 00:04 |
movie and we'll apply it as a texture
sure map using the Lighting Effects
| | 00:07 |
filter.
This time we're not going to apply
| | 00:11 |
Lighting Effects directly to the image
layer itself.
| | 00:14 |
Instead, we're going to create a kind of
a proxy layer.
| | 00:18 |
And so, with the background selected,
press Ctrl+Shift+N or Cmd+Shift+N on the
| | 00:22 |
Mac, to bring up the New Layer dialog box
and just call it gray, and then click OK.
| | 00:28 |
Then, you want to go up to Edit > Fill or
you can just press Shift+Backspace or
| | 00:32 |
Shift+Delete on the Mac, in order to
bring up the Fill dialog box.
| | 00:37 |
You want the blending option set to
Normal and 100%.
| | 00:41 |
Preserve Transparency should be turned
off.
| | 00:44 |
And then set Use to 50% Gray and click
OK.
| | 00:47 |
And that will create a field of gray
inside the image.
| | 00:51 |
Now, we always want to apply Lighting
Effects as a Smart Filter, in case we
| | 00:54 |
need to go back and adjust the settings.
And in this case, we probably will need
| | 00:59 |
to do that.
So, right-click inside the Image window
| | 01:02 |
with the Rectangular Marquee tool and
choose Convert To Smart Object.
| | 01:06 |
Then, go up to Filter > Render > Lighting
Effects.
| | 01:11 |
And in my case, I'm looking at that
default light once again.
| | 01:16 |
What we want to do is add an Infinite
Light.
| | 01:19 |
So, go ahead and click on the Add New
Infinite Light icon in order to add one
| | 01:22 |
to the image.
And then you can grab the old spotlight
| | 01:26 |
right there and just click on the Trash
Can to get rid of it.
| | 01:30 |
Now, I'm going to adjust a few settings
over here inside the Properties panel.
| | 01:34 |
Leave the Exposure set to zero, and then
take the Gloss value down to -100, and
| | 01:38 |
take the Metallic value down to -100 as
well.
| | 01:43 |
We want to assign a texture but not red,
because it doesn't contain anything,
| | 01:47 |
because we're looking at the red channel
for the gray layer.
| | 01:52 |
Instead, go ahead and switch to URLs,
like so.
| | 01:57 |
And that'll go ahead and lift that field
of URLs.
| | 01:59 |
Now initially, you won't be able to see
it because the Height value's set to
| | 02:02 |
zero.
But as soon as you start raising that
| | 02:04 |
Height value, You're going to see the
letters appear against the gray
| | 02:07 |
background.
Whenever you're working with the Texture
| | 02:11 |
Map, white is considered to be high, and
black is considered to be low.
| | 02:15 |
And as a result, even though we're
shining the light down left, we have this
| | 02:20 |
black edge on the upper right side.
And you'd think it'd be catching the
| | 02:25 |
light, but it's actually not.
The other edge is catching the light, and
| | 02:29 |
that's because the letters are considered
to be going downward, away from you.
| | 02:34 |
And the white background of that channel,
that URL channel, is coming forward.
| | 02:38 |
So, we need to reverse the light here, by
dragging it down, somewhere over here
| | 02:42 |
should work out well for us.
Alright now, I eventually want everything
| | 02:49 |
between the letters to be absolutely 50%
gray.
| | 02:53 |
And that's not something you can really
check while you're inside the Lighting
| | 02:56 |
Effects window, so you're just going to
have to sort of figure it out on the fly.
| | 03:00 |
And then confirm it after you click OK.
But, for starters here, I'm going to
| | 03:04 |
reduce the intensity value to 10, and
that really darkens up the scene as you
| | 03:08 |
can see here.
It's way darker then 50% gray.
| | 03:12 |
And you may notice that the preview ends
up shifting around on screen.
| | 03:17 |
Now I'm take the ambience value up.
So, I'll just press Shift+Up Arrow, with
| | 03:22 |
this value selected until I end up seeing
something that looks like it might have
| | 03:27 |
half a change of being 50% gray.
And then, I don't want this much of an
| | 03:33 |
edge associated with my letters.
So, I'm going to take the height value
| | 03:37 |
down to one in order to produce this
effect here.
| | 03:40 |
Now, let's go ahead and click OK in order
to light the scene.
| | 03:45 |
To check out if we've got 50% gray or
not, go ahead and select the Eyedropper,
| | 03:49 |
which you can get by pressing the eye key
of course, and then make sure the sample
| | 03:53 |
is set to All Layers and click somewhere
inside this layer.
| | 03:58 |
And I've nailed.
I've got it set to 50% exactly.
| | 04:01 |
But if you're seeing some other
percentage, for example, it's a little
| | 04:05 |
bit too high, then you would want to
double-click on Lighting Effects there
| | 04:08 |
and go ahead and take that ambiance value
down.
| | 04:13 |
So, for example, I could take it down to
70% and then click OK.
| | 04:18 |
And then, click with the Eyedropper
again.
| | 04:20 |
And now my Brightness value is down to
45%, which is not what I want.
| | 04:24 |
So, I'll just press Ctrl+Z, or Cmd+Z on a
Mac to undo my change because I've got
| | 04:28 |
exactly the results I'm looking for.
Now, the next trick is to change the
| | 04:34 |
blend mode associated with this layer
from Normal to Overlay.
| | 04:38 |
But that's going to create an extremely
subtle effect.
| | 04:42 |
Now, you could experiment with something
like linear light and see if you get the
| | 04:45 |
results you're looking for.
In my case, that looks pretty darn good.
| | 04:50 |
Or, what I ended up doing, was switching
back to Overlay.
| | 04:53 |
And then, pressing the Alt key or the
Option key on a Mac, click on the black
| | 04:57 |
and white circle at the bottom of the
Layers panel and choose Levels.
| | 05:02 |
Or, if you loaded D keys, and you've got
a keyboard shortcut, of Ctrl+Shift+L, or
| | 05:06 |
Cmd+Shift+L on a Mac.
And I'm going to call this guy Contrast,
| | 05:09 |
and then I'll turn on this checkbox, Use
Previous Layer to Create Clipping Mask.
| | 05:14 |
And then, click OK.
And now what you want to do, assuming
| | 05:18 |
that you got a 50% gray in the center and
that your histogram is more or less
| | 05:22 |
centered inside of the panel here.
Then, you want to change the black point
| | 05:28 |
value to 100 and go ahead and subtract
100 from the white point value, which
| | 05:32 |
takes it down to 155.
And you'll end up achieving this result
| | 05:37 |
here.
I'll go ahead and hide the Properties
| | 05:39 |
panel.
So, I can see the entire screen.
| | 05:42 |
Now, the grand thing about this technique
is notice if you turn off the Gray layer,
| | 05:46 |
the lighting of the woman in the
background does not change.
| | 05:51 |
So, as soon as I turn it back on, she is
still lit in exactly the same way that
| | 05:54 |
she was before.
And that's because I made sure in
| | 05:58 |
advance, that the gray background, this
area here is exactly 50% gray using the
| | 06:03 |
Eyedropper tool.
I'll go ahead and press Shift+F, so that
| | 06:08 |
we can take in the entire image here and
zoom out a little bit as well.
| | 06:13 |
And that folks, is how to assign a
watermark pattern to your images using a
| | 06:17 |
texture map, along with Lighting Effects,
inside Photoshop.
| | 06:22 |
| | Collapse this transcript |
| Turning text into a soft texture map| 00:00 |
Our next project will be to take this
white text at the bottom of this
| | 00:03 |
composition and give it this credit card
treatment.
| | 00:07 |
And notice if you zoom in on the text you
can see that the letters are not only
| | 00:11 |
rounded and lit but the sort of oranges
bars wrap around the letter forms as
| | 00:14 |
well.
And that's a combination of the lighting
| | 00:18 |
effects and displace filters working
together.
| | 00:21 |
In this movie, I'll show you how to take
this white text here and convert it into
| | 00:25 |
something that will work as a texture map
for the Lighting Effects filter, as well
| | 00:29 |
as a displacement map for the Displace
filter.
| | 00:33 |
Now, the first thing you want to do if
you're working along with me, is edit
| | 00:36 |
this text to your hearts content.
So, in other words, if you don't want to
| | 00:40 |
work with this made up name here, you
want to enter your name, then, now's the
| | 00:43 |
time to do so.
Then, click on the layer below the text
| | 00:47 |
layer, which happens to be the Bar layer
here.
| | 00:50 |
And then press the Alt key, or the Option
key on a Mac, and click and hold on that
| | 00:53 |
black and white circle icon and choose
Solid Color.
| | 00:58 |
Because you have Alter option down you'll
see the New Layer dialog box.
| | 01:01 |
Go ahead and call this layer Black and
then click OK.
| | 01:05 |
And then, actually dial in black here
instead of the color picker, then click
| | 01:10 |
OK again.
Now, you want to save this white text
| | 01:13 |
against a black background as an alpha
channel.
| | 01:15 |
So, switch over to the channels panel.
Grab any channel, it doesn't matter which
| | 01:19 |
one.
I'll just grab blue because it's closet
| | 01:21 |
to the bottom.
And drop it onto the little page icon at
| | 01:24 |
the bottom of the Channels panel,and
that'll make a copy of that channel.
| | 01:29 |
Then go ahead and name it something like
Original Type.
| | 01:33 |
Now, because you can't make layers while
you're working with alpha channels, I
| | 01:37 |
like to go ahead and make copies of my
channels as I do my work, that way I have
| | 01:40 |
all the steps preserved.
So, I'm going to go ahead and grab this
| | 01:45 |
channel and drag it and drop it onto the
little page icon.
| | 01:49 |
And then, I'm going to rename this
channel median four.
| | 01:52 |
And the idea is that I want to round off
these letters and the median filter is
| | 01:56 |
the best way to do that.
So, go up to the Filter > Noise > Median.
| | 02:03 |
And inside the Median dialog box, you
want to enter a radius of 4 pixels.
| | 02:07 |
For this specific composition, that value
works out great.
| | 02:11 |
Then, go ahead and click OK.
Now, make a copy of your new channel by
| | 02:14 |
dragging ii and dropping in onto the
little page icon.
| | 02:17 |
Double-click on its name and call it
GbBlur 2, because we're going to be
| | 02:21 |
applying Gaussian blur this time around.
Go up to the Filter > Blur > Gaussian
| | 02:27 |
Blur.
Enter a radius value of 2 pixels and then
| | 02:32 |
go ahead an click OK.
And then we want to create one more
| | 02:37 |
channel.
Go ahead and drag and drop on to the page
| | 02:39 |
icon once again.
I'll call this guy GBlur 4 Multiply
| | 02:44 |
because that's what he's going to be.
And so, the first step is to repeat that
| | 02:50 |
last filter and you can do so by pressing
Ctrl+Alt+F or Cmd+Option+F on the Mac and
| | 02:55 |
then, change the Gaussian Blur value to 4
this time around.
| | 03:01 |
I don't want the text blurring inward and
outward, so I'm going to go ahead and
| | 03:05 |
zoom in on it.
What I'm looking to see happen is that
| | 03:09 |
the blur happens inside the letters, but
not out.
| | 03:13 |
So, immediately after applying Gaussian
Blur, go up to Edit > Fade Gaussian Blur
| | 03:17 |
or press Ctrl+Shift+F, the Cmd+Shift+F on
the Mac, and change the Blend Mode to
| | 03:22 |
Multiply.
And that will send the blur inward, not
| | 03:27 |
outward, and you'll arrive at this effect
here.
| | 03:31 |
Now click OK.
That's all there is to the texture map,
| | 03:35 |
which will also translate to a
displacement map.
| | 03:38 |
In the next movie I'll show how to apply
this texture map to the larger
| | 03:41 |
composition using the lighting effects
filter.
| | 03:45 |
| | Collapse this transcript |
| Creating raised credit-card-style letters| 00:00 |
In this movie, I'll show you how to apply
this blurry texture map in order to
| | 00:04 |
create the raised credit card text effect
using the lighting effects filter.
| | 00:10 |
Last we left off, I was here inside the
Channels panel.
| | 00:12 |
I'm going to switch back to the RGB
image, return to the Layers panel, and
| | 00:16 |
press Ctrl-0 or Cmd-0 on the Mac to zoom
out.
| | 00:20 |
We no longer need this layer of black so
you can go ahead and turn it off and then
| | 00:24 |
click on the bar layer to make it active
and control shift n or command shift n on
| | 00:27 |
the mac to bring up the new layer
dialogue box call this layer gray and
| | 00:30 |
click okay.
Now we don't really need to fill the
| | 00:35 |
entire layer with gray cause the text is
just here at the bttom of the screen.
| | 00:39 |
So, assuming you have your rectangular
marquee tool selected, just go ahead and
| | 00:43 |
marquee a general area at the bottom of
the image that more than contains the
| | 00:47 |
text.
And then go out to the Edit menu and
| | 00:51 |
choose the Fill command, or press Shift
Backspace on a PC, Shift Delete on a MAC.
| | 00:56 |
And set use to 50% gray.
Blending options should be set to their
| | 01:00 |
defaults and then Click Okay.
Now, we no longer need the text so you
| | 01:04 |
can turn off that layer and you can also
Press Control D, or Command D on the Mac
| | 01:07 |
to deselect the image.
And now I'll go ahead and zoom back in.
| | 01:12 |
Next, convert this grey layer to a Smart
Object by right-clicking anywhere inside
| | 01:17 |
the Image window and choosing Convert to
Smart Object.
| | 01:21 |
And then, go up to the Filter menu,
choose Render, and choose Lighting
| | 01:24 |
Effects in order to bring up the big
Lighting Effects window.
| | 01:28 |
Now, I've gone ahead and reset the
Default preset.
| | 01:31 |
That's not actually what we want, I just
wanted to start from scratch.
| | 01:35 |
The next step is to click on the Add New
Infinite Light button.
| | 01:39 |
In order to add an infinite light to the
scene then just click on that spotlight
| | 01:42 |
one and click on the trash can to get rid
of it and now I want to assign that
| | 01:46 |
texture map.
So scroll down in the list here and set
| | 01:50 |
the texture not to original type, or any
of these other guys cause notice If I
| | 01:54 |
choose median, and I'll crank up the
height value to something like 20 just so
| | 01:58 |
we can see this text.
And now I'll go ahead and zoom in by
| | 02:04 |
pressing control plus a couple of times.
And I'll scroll down using my mouse,
| | 02:09 |
because space bar dragging doesn't work
inside this window, unfortunately.
| | 02:14 |
Notice how harsh this text is.
It's way too sharp, that's why we had to
| | 02:18 |
soften it using Gaussian blur.
So with two pixels of Gaussian blur,
| | 02:23 |
things get better.
But with four pixels of Gaussian blur set
| | 02:26 |
to multiply on top of those two pixels,
we get an even better effect.
| | 02:32 |
Especially, it's very obvious, once you
reduce the height value to something like
| | 02:36 |
three.
So just for the sake of comparison,
| | 02:39 |
here's Gaussian blur two.
It's just to flat on top.
| | 02:43 |
And here's Gaussian blur four multiply.
I'm going to go ahead and zoom out here.
| | 02:49 |
I'm going to drag my light source around
a little bit until I get a result that I
| | 02:53 |
like, and this looks pretty good to me.
And now we want a little bit of ambiance
| | 02:58 |
associated with the scene, so I'm
going to crank the ambiance value up to
| | 03:01 |
70, that's what I found ended up working,
and you want the color to be white.
| | 03:07 |
And let's go ahead and set both the
Gloss.
| | 03:10 |
and the metallic values to negative one
hundred a piece and then scroll up to the
| | 03:14 |
top of the list to the intensity for the
light and reduce it to ten and you should
| | 03:18 |
end up with this effect here.
So at this point go ahead and click ok in
| | 03:24 |
order to accept the change and press the
i key to get you eye dropper and we just
| | 03:28 |
need to test that this is fifty percent
grey so go ahead and click, and sure
| | 03:31 |
enough I can see my HSP value up in the
color panel and brightness value is 50%
| | 03:35 |
which is exactly what it needs to be.
If its too high or too low then you need
| | 03:43 |
to double click on lighting effects and
adjust the ambiance value.
| | 03:48 |
Now we need to enhance the contrast of
the effect.
| | 03:50 |
So press the Alt key or the Option key on
the mac.
| | 03:53 |
Click the black white circle at the
bottom of the layers panel and choose the
| | 03:56 |
levels command, or if you loaded D keys
you can just push control shift L or
| | 03:59 |
command shift L on the Mac.
Call this layer contrast.
| | 04:04 |
Turn on the use previous layer to create
clipping mass check box and click OK.
| | 04:08 |
And here are the values I came up with.
Change the black point value of the first
| | 04:15 |
one under the histogram to 80, and then
take the gamma value down to 0.65, and
| | 04:19 |
then take the white point value down to
155.
| | 04:24 |
And now just to make sure that everything
worked out click again with the
| | 04:27 |
eyedropper inside this area of grey in
order to make sure the brightness value
| | 04:31 |
is still 50% which it ought to be.
And assuming it is, go ahead and hide the
| | 04:36 |
properties panel.
And now there's just one step left, which
| | 04:39 |
is to click on the grey layer to make it
active and then change it's blend mode
| | 04:43 |
from normal to hard light and you end up
with this rounded, raised letter effect
| | 04:47 |
right here.
So far, so good.
| | 04:52 |
The only problem is, if these letters
were really raised.
| | 04:55 |
This bar wouldn't run straight through
them like this it would bend around the
| | 04:59 |
contours of the letters and I'm going to
show you how to pull that off in the next
| | 05:02 |
movie.
| | 05:04 |
| | Collapse this transcript |
| Wrapping an image using a displacement map| 00:00 |
In this movie, I'll show you how to wrap
these orangish bars around the contours
| | 00:04 |
of these rounded letters using a
displacement map in order to produce this
| | 00:07 |
effect here.
So we'll be both creating the
| | 00:11 |
displacement map and applying it inside
this movie.
| | 00:15 |
Alright, I'll go ahead and switch back to
the image at hand here, and you want to
| | 00:18 |
go back to the Channels panel, and scroll
all the way down to the last channel, G
| | 00:22 |
Blur Four Multiply.
Now right click on this channel, and
| | 00:27 |
chose the duplicate channel command.
And then change the document to new, so
| | 00:32 |
that we're copying the channel to it's
own image.
| | 00:36 |
Now Photoshop should automatically switch
you to this image as it has done for me.
| | 00:40 |
In which case you want to go up to the
image menu,chose mode and chose
| | 00:44 |
greyscale.
In order to convert this from a so called
| | 00:48 |
multi-channel image to a standard
grayscale one.
| | 00:51 |
And now go up to the image menu, choose
adjustments and choose the levels
| | 00:56 |
command.
And you want to change this first output
| | 01:00 |
levels value to 128, and click Okay.
And what that does is it changes all of
| | 01:06 |
the blacks to medium grey.
And just to confirm that it's 50% grey,
| | 01:10 |
once again, press the Eye key to get the
eyedropper, and click somewhere inside
| | 01:14 |
the image, and you should see the K
values switched to 50%.
| | 01:20 |
And the reason that's so important is
because where the displacement map is
| | 01:23 |
concerned, grey is neutral.
It doesn't push pixels around at all,
| | 01:27 |
where as white push pixels in one
direction and black pushes them in
| | 01:31 |
another.
So in our case, we're just going to be
| | 01:34 |
pushing with the white, not with a gray.
Now what you want to do is switch to the
| | 01:38 |
Layers panel and confirm that you have a
flat image, which you should have, and
| | 01:42 |
then go up to the File menu and choose
the Save As command.
| | 01:48 |
And you want to save this image in the
native PSD format, which is the only way
| | 01:52 |
it's going to work with the Displace
filter.
| | 01:57 |
Now I've already saved my image in
advance as DisplacementType.psd, so I'm
| | 01:59 |
just going to go ahead and cancel out
here.
| | 02:01 |
And now we'll switch over to my image in
progress.
| | 02:03 |
You want to also switch back to your full
color composite image, and you can do
| | 02:07 |
that by clicking on any one of these
layers, here inside the layers panel.
| | 02:12 |
Now I went ahead and clicked on bar,
because that is the top layer that we'll
| | 02:15 |
need to select, and then shift click on
woman, in order to select this entire
| | 02:19 |
range of 4 layers.
And the reason is we need to displace the
| | 02:24 |
content of all of these layers at once,
and you do that by going up to the Layers
| | 02:27 |
Panel Flyout menu and choosing Convert to
Smart Object, or of course if you loaded
| | 02:31 |
D keys you can press Ctrl+comma or
Cmd+comma on a Mac.
| | 02:37 |
Photoshop goes ahead and names the Smart
Object after the top layer, which isn't
| | 02:40 |
really right, he's not a bar, so I'm
going to call this...
| | 02:45 |
Woman and bars plural.
And then you want to go up to the filter
| | 02:49 |
menu, choose distort and choose the
displace command.
| | 02:53 |
That'll bring up this little dialog box
here that offers a horizontal scale and
| | 02:57 |
vertical scale value.
We don't want any horizontal distortion
| | 03:01 |
so set the horizontal scale to zero.
And then we want to distort the letters
| | 03:06 |
up but you never know how much, so just
dial in something like five, let's say,
| | 03:10 |
and then click Okay.
Now locate that displacement map that you
| | 03:15 |
just saved, in my case it's called
Displacement type dot PSD, and click on
| | 03:19 |
the Open button, and that will go ahead
and distort the contents of the Smart
| | 03:22 |
Object around the letters.
Now in my case I think that's a little
| | 03:27 |
bit much, and so I'm going to scroll down
the Layers panel and double click on
| | 03:31 |
Displace in order to bring back the
displaced dialog box.
| | 03:36 |
And I'll reduce the Vertical Scale Value
to three, which is the same amount of
| | 03:39 |
height that I assigned to the letters
inside of the Lighting Effects filter as
| | 03:43 |
well.
Then I'll click Okay.
| | 03:47 |
You have to select the displacement map
again and then click Open.
| | 03:51 |
And that'll go ahead and give you a
little less distortion.
| | 03:55 |
Now if you like this effect, great,
you're done, if you'd like to create some
| | 03:58 |
hotter highlights and shadows associated
with these letters.
| | 04:02 |
Then go ahead and click on that gray
layer to make it active and then return
| | 04:06 |
to the filter menu choose render and
choose lighting effects.
| | 04:11 |
And with any luck you will see the last
settings that you applied and in my case
| | 04:15 |
it's true the intensity is 10 the
ambiance is 70 and the height of the
| | 04:18 |
texture map here is set to 3.
In which case just go ahead and click
| | 04:24 |
okay in order to apply another helping of
lighting effects.
| | 04:28 |
If you think that's a little bit too much
then double click on the slider icon to
| | 04:33 |
the right of the words lighting effects
at the top there and maybe take this down
| | 04:37 |
to 77%.
And then click OK in order to accept the
| | 04:42 |
effect.
And now I'll press Shift F in order to
| | 04:45 |
switch to the full screen mode.
And go ahead and zoom out by pressing
| | 04:49 |
control 0.
And this folks is the final version of
| | 04:53 |
the raised credit card text effect, using
a combination of a texture map and a
| | 04:58 |
displacement map, here inside of
Photoshop.
| | 05:03 |
| | Collapse this transcript |
|
|
37. Panoramas and Wide AngleCorrecting barrel distortion and panoramas| 00:00 |
In photography, a wide-angle lens allows
you to take in an expansive scene from a
| | 00:04 |
very close vantage point, and as a result
you can get some great shots, but it
| | 00:08 |
comes at a price, and that price is
barrel distortion.
| | 00:13 |
Meaning that the vertical and horizontal
elements of the scene bow outward.
| | 00:18 |
Now, the problem becomes compounded when
you stitch multiple images together to
| | 00:22 |
create a panorama, in which case
Photoshop has to actually purposely
| | 00:25 |
distort the scene in order to create
alignment between the shots.
| | 00:31 |
Which is why the program includes a
filter, called Adaptive Wide-Angle that
| | 00:34 |
allows you to remove that distortion,
either automatically or with your help
| | 00:38 |
and it provides you with some great
manual correction tools, as you're about
| | 00:42 |
to see.
Which means that you can correct a
| | 00:47 |
standard 17 millimeter shot for example,
or a really wide angle GoPro shot, but
| | 00:52 |
Adaptive Wide-Angle is essential for
correct panoramas, as I'll show you in
| | 00:57 |
these movies.
| | 01:01 |
| | Collapse this transcript |
| Introducing the Adaptive Wide Angle filter| 00:00 |
In this movie, I'll show you how to use
the Adaptive Wide-Angle filter to remove
| | 00:03 |
the distortion from a scene.
In our case, for example, we have a
| | 00:07 |
little bit of barrel distortion, and it's
most evident up here in this cornice.
| | 00:12 |
That is up at the top of the building,
but you can see the stairs bow outward
| | 00:15 |
down here near the bottom of the
photograph as well.
| | 00:18 |
Now Adaptive Wide-Angle is available as a
smart filter, so the first thing we want
| | 00:22 |
to do is convert the image into a smart
object, by double-clicking on it to bring
| | 00:25 |
up the New Layer dialogue box.
I'll call the layer City Hall, and then,
| | 00:30 |
using my Rectangular Marquee tool, I'll
right-click inside the image window and
| | 00:33 |
choose Convert to Smart Object.
Next, you want to up to the Filter menu
| | 00:38 |
and choose Adaptive Wide-Angle.
And with any luck, correction will be set
| | 00:42 |
to auto, where this image is concerned,
and that's because Photoshop recognizes
| | 00:46 |
this combination of camera and lens.
However, that may not always be the case.
| | 00:52 |
Now just because it's applying an
automatic correction, doesn't mean that
| | 00:55 |
it's necessarily a good one.
In our case for example, it's made the
| | 00:59 |
problem worse, and when that happens you
want to take advantage of these tools in
| | 01:03 |
the upper left corner, starting with the
Constraint tool, which is selected by
| | 01:06 |
default.
To use this tool, you go ahead and drag
| | 01:10 |
along what should be a straight detail
inside of the image.
| | 01:14 |
So I'm dragging here along the bottom of
this freeze, and that goes ahead and
| | 01:18 |
straightens things up quite nicely.
Now I'm going to scale out just a little
| | 01:23 |
bit, so I can take in the stairs down
here at the bottom of the image.
| | 01:26 |
Let's say that you want a line to be, not
just straight, but you want it to be
| | 01:29 |
absolutely horizontal or vertical, then
you press the Shift key as you drag the
| | 01:33 |
line.
And the filter will go ahead and
| | 01:37 |
constrain this detail to whatever is
closest, that is horizontal or vertical.
| | 01:42 |
In my case it's going to be horizontal,
which is why I'm seeing a yellow line,
| | 01:45 |
whereas an unconstrained line appears
blue.
| | 01:49 |
If you want to constrain a line you've
already drawn, then just go ahead and
| | 01:52 |
right-click on it, and then choose, in
this case, horizontal, and we'll end up
| | 01:55 |
with a yellow line once again.
Alright, now I'm going to work on these
| | 01:59 |
columns.
Now, you might figure the safest thing to
| | 02:01 |
do is to just drag along the column,
because that's where you can actually see
| | 02:04 |
the lines.
However, if you do that, notice what
| | 02:08 |
happens, it straightens out the column,
but then we have a little bit of an elbow
| | 02:11 |
right here, because the base for the
column is not included in the constraint.
| | 02:17 |
So I'll go ahead and drag this guy all
the way to the base, so that we get a
| | 02:20 |
nice straight column, and I'll go ahead
and drag it up to the top as well.
| | 02:24 |
Now notice these guys right here, if you
hover over these round handles, you'll
| | 02:28 |
get a little Rotate cursor, and then you
can drag in order to rotate in my case,
| | 02:31 |
the columns just a little bit.
I don't want them to be entirely
| | 02:36 |
vertical, 'cuz that wouldn't look right,
and it'd introduce all kinds of weird
| | 02:39 |
distortion into the scene.
But I do want them to be a little more
| | 02:43 |
upright than they were.
And now the line turns green, as you can
| | 02:46 |
see there, indicating that I've applied
an arbitrary constraint.
| | 02:50 |
Alright now I'm going to go ahead and
drag down this column like so, and I'll
| | 02:54 |
do the same thing, I'll just drag this
guy counter clockwise this time around,
| | 02:57 |
in order to apply another arbitrary
constraint.
| | 03:02 |
I definitely need to straighten out this
column as well, because it's really
| | 03:05 |
bowing outward.
Now notice that time it didn't take, and
| | 03:08 |
that's because I dragged outside of the
image there.
| | 03:12 |
But, you can just click at the first
point and click again at the second
| | 03:15 |
point, if you like as well.
And you may find that when you're
| | 03:19 |
dragging a line turns red on you, I don't
seem to be getting that effect now, but
| | 03:23 |
if you do it just means that the filter
is unhappy with the line that you've
| | 03:26 |
drawn and you just have to move one point
or the other to a new location.
| | 03:32 |
Alright I'm going to go ahead and drag
down this light.
| | 03:35 |
And, this light needs to be straightened
out as well.
| | 03:39 |
And then finally, I'm going to Shift drag
along the top here in order to flatten
| | 03:43 |
that out and make it entirely horizontal
like so.
| | 03:47 |
Alright now I'll restore the scale value
to a 100%, because if you don't do that
| | 03:51 |
you will scale the image using the
filter.
| | 03:55 |
And now I'll click Okay to accept that
effect.
| | 03:58 |
And then Photoshop will apply Adaptive
Wide-Angle as an editable smart filter
| | 04:02 |
here inside the Layers panel.
So that's one way to use Adaptive
| | 04:05 |
Wide-Angle.
In particular, I showed you how to work
| | 04:08 |
with the Straight Line Constraint tool.
In the next movie, I'll show you how to
| | 04:12 |
straighten things further using the
Polygon Constraint tool.
| | 04:16 |
| | Collapse this transcript |
| Drawing polygonal constraints| 00:00 |
In this movie, I'll show you how to use
the Polygon Constraint tool, to further
| | 00:03 |
straighten this image.
Because as you can see, we still have
| | 00:07 |
some bending details.
In particular, these tiled bases below
| | 00:11 |
the lights.
So I'll go ahead and double click on
| | 00:13 |
Adaptive Light Angle, in order to revisit
the filter, because after all, this is an
| | 00:17 |
editable smart filter.
And I'll show you how the constraint tool
| | 00:21 |
works here.
I'm going to go ahead and zoom in here by
| | 00:24 |
pressing Control Plus, or Command Plus on
the Mac, a few times.
| | 00:27 |
You do have this magnified view over on
the right hand side.
| | 00:31 |
So you can work wide if you want to keep
an eye on the entire image.
| | 00:34 |
The problem is, then, when you go back to
edit the points, even the tiniest of
| | 00:38 |
mouse movements can produce huge results.
So I typically zoom in on the details
| | 00:43 |
when I'm working inside the image.
This next tool down, is the Polygon
| | 00:47 |
Constraint tool, and it allows you to
draw any shapes you like.
| | 00:51 |
Now, more often than not, you're probably
going to draw quadrangles, that is
| | 00:54 |
bending rectangles essentially.
But, you can draw something like a
| | 00:58 |
triangle, which is what I'll do here,
around this pediment, very quickly, just
| | 01:01 |
to show you how it works.
So, all you need to do is click to set
| | 01:05 |
points.
So I'll click at this location, click
| | 01:08 |
right about there, click at this location
as well.
| | 01:11 |
And then, when you're done, you click at
your first point, in order to close that
| | 01:15 |
shape.
And then you can move the point around if
| | 01:18 |
you want to.
Now I'm not really getting anything done
| | 01:20 |
here.
But I just want you to get the sense for
| | 01:22 |
how the tool works.
Alright, now I'll go ahead and create a
| | 01:25 |
shape at this location around the doors.
So I'm clicking in each one of the
| | 01:30 |
corners.
This doorway's not bending that much, but
| | 01:32 |
it's just a precaution to make sure it
doesn't end up bending.
| | 01:36 |
And then, once again, to finish off the
shape, you click in its corner point.
| | 01:41 |
And then if you want to make some
modifications, make sure that you have
| | 01:44 |
that little move cursor when you hover
over a point, and then drag.
| | 01:48 |
Because, if you don't quit have the move
cursor, and you start dragging, you're
| | 01:51 |
going to end up creating a new shape like
this one here.
| | 01:55 |
And anytime you want to get rid of a
constraint, all you have to do is press
| | 01:58 |
the Alt key, or the Option key on the
Mac, in order to get the Scissors icon,
| | 02:01 |
and then click on it.
All right.
| | 02:05 |
Now let's move to one of those tiled
bases here, and in order to really see
| | 02:08 |
what I'm doing, I'm going to take the
Scale value down a little bit.
| | 02:12 |
Actually, a little more than that even,
to about there, just so I can see all the
| | 02:15 |
way to the bottom of the image.
And I'll click right there, and there as
| | 02:19 |
well.
And then, notice that's the red dotted
| | 02:22 |
line that I was telling you about.
That means that the filter can't
| | 02:25 |
reconcile that line.
So just go ahead and move your cursor
| | 02:28 |
upward, closer to the image.
And then, I'll go ahead and click right
| | 02:32 |
about there, and click at the first
point.
| | 02:36 |
And, that's going to do a nice job
actually of straightening that out.
| | 02:39 |
I might just take this over slightly,
like so.
| | 02:42 |
And then I'll scroll over to this
location right there, and I will click at
| | 02:45 |
this corner down here, not so far that I
get the red dotted line, about right
| | 02:49 |
there is where I Think I want it, but I
can move it in the moment.
| | 02:55 |
And then, I'll click this location and
then click at the beginning once again.
| | 03:00 |
And then this guy wants to come over ever
so slightly, so I'll just drag it over to
| | 03:04 |
the right.
Alright, I think that just about takes
| | 03:07 |
care of it.
If you want to go wide, take in your
| | 03:09 |
entire image, press Control 0, or Command
0 on a Mac, just as you do elsewhere
| | 03:12 |
inside of Photoshop.
A couple of final notes here.
| | 03:17 |
You've got this Move tool, that allows
you to move the image inside of its new
| | 03:20 |
canvas.
You also have the usual navigation tools
| | 03:23 |
right there, and you can access the Hand
tool anytime you like, just by a pressing
| | 03:27 |
the space bar, even in the middle of
drawing one of these polygons.
| | 03:32 |
All right, having straightened out this
image, I'm going to go ahead and increase
| | 03:35 |
the scale value back to 100%, then press
the Tab key to invoke that value.
| | 03:41 |
Then I'll click OK in order to apply my
changes.
| | 03:43 |
So to give you a sense of what we did
here, I'll go ahead and press Control Z
| | 03:46 |
or Command Z on a Mac.
You can see that these tiled bases below
| | 03:50 |
the lights bend ever so slightly.
And then, when I press Control Z, or
| | 03:54 |
Command Z, to reapply the changes, they
straighten out.
| | 03:57 |
And then finally, so you can get an
overall sense here, this is how the image
| | 04:01 |
looked at the outside of the previous
movie, and here's how it looks now,
| | 04:05 |
corrected to perfection, using Adaptive
Wide Angle.
| | 04:10 |
| | Collapse this transcript |
| Manually straightening a GoPro photo| 00:00 |
In this movie, I'll show you how to
correct an image for which Photoshop has
| | 00:03 |
no lens profile.
For example, I captured this using a
| | 00:06 |
GoPro Hero 3.
And those cameras, if you've ever seen
| | 00:09 |
them, they're really tiny, and they have
no viewfinders.
| | 00:13 |
And as a result, they have to be super
wide-angle in order to catch all the
| | 00:17 |
action.
And so I have the camera about, maybe
| | 00:20 |
five inches from my son's face, and as a
result I've got this fish eye effect.
| | 00:24 |
So the first thing I wanted to do is
convert this image to a new layer, and
| | 00:27 |
I'll just go ahead and call it Max, for
my son.
| | 00:31 |
And then, right-click inside the image,
with the Rectangular Marquee tool, and
| | 00:34 |
choose Covert to Smart Object.
Then, once that's done, go up to the
| | 00:38 |
Filter menu, and choose Adaptive Wide
Angle, and notice, that instead of being
| | 00:42 |
set to Auto, as before, the Correction
setting is Fisheye.
| | 00:46 |
Now, you can experiment with these other
settings if you like, but, Fish Eye is
| | 00:49 |
what we want for this image.
Notice that it's automatically reading
| | 00:54 |
the focal length which is a mere 2.77
millimeters.
| | 00:58 |
It does have a very small image sensor as
well.
| | 01:00 |
And that's a function of having this As
Shot check box turned on.
| | 01:04 |
I want you to notice something here.
If I go ahead and reduce the scale value,
| | 01:08 |
to, for example, 80%, notice this crop
factor here, notice we have these spikey
| | 01:12 |
edges, and if you were to increase the
crop factor, then you will crop less in
| | 01:16 |
the corner region of the image, but
you'll also apply less in the way of
| | 01:20 |
distortion correction, which is not
really what we want.
| | 01:27 |
So I'm just going to turn As Shot back
on, and then, I'm going to use my
| | 01:30 |
constraint tool.
So I'll zoom in on the image a little
| | 01:34 |
bit, and I'd drag along the top of the
seat.
| | 01:37 |
And notice, because there's no lens
profile, the filter does not accurately
| | 01:41 |
trace that edge the way that it did for
that city hall image.
| | 01:44 |
Fortunately, we've got this little center
point now, and you can use that center
| | 01:48 |
point to accurately track the edge of a
detail inside the image like so.
| | 01:53 |
Alright, now I'll go ahead and add
another line along the bottom of this
| | 01:56 |
ridge right here.
And you can tweak it if you want to, but
| | 02:00 |
if you do, you may end up rebending the
top of the seat like so.
| | 02:05 |
And for my money, I mean, it looks best
to me, if the top of the seat is
| | 02:08 |
straightest thing in sight of the image.
Now we come to a point where we're not
| | 02:12 |
necessarily going to get our way.
Notice this bending vertical attribute
| | 02:17 |
here.
If I were to drag a line along it like
| | 02:20 |
so, and then modify the placement of that
center point, in order to straighten that
| | 02:24 |
vertical element, then I lose the
straightness of the seats, which is not
| | 02:28 |
what I want.
So, I'm going to press the Alt key, or
| | 02:32 |
the Option key on the Mac, and click on
that vertical line in order to get rid of
| | 02:36 |
it.
And then, I'll go ahead and drag these
| | 02:39 |
guys back into place, which is a little
bit tedious but this is the way it works.
| | 02:42 |
And then finally, notice this bending bar
at the top of the image.
| | 02:47 |
You could try to straighten that out if
you want to, like so, but again, if I get
| | 02:50 |
this detail right, if I get it nice and
straight, I lose a little bit of the
| | 02:54 |
straightness associated with this back of
the seat here.
| | 02:59 |
So what I decided to do was just go ahead
and crop this top element away.
| | 03:03 |
But if I do that I've got a couple of
problems.
| | 03:06 |
First of all, I make that top edge of the
seat bend ever so slightly, and if I try
| | 03:09 |
to fix that, then I'm probably going to
wreck this this up here which I've done.
| | 03:15 |
Also, notice how much these lines are
bending now.
| | 03:18 |
So what I decided to do instead was just
to crop this element out.
| | 03:22 |
So I'll press the Alt key, or the Option
key on the Mac, and click on that line in
| | 03:25 |
order to delete it.
Now I'll go ahead and drag the top of
| | 03:29 |
this line up just slightly.
Notice that the lines holding up the
| | 03:32 |
gondola here are now straight ones again.
And then, I'll restore my scale value to
| | 03:36 |
100%, and press the Tab key, in order to
increase the size of the image, and then
| | 03:40 |
I'll click OK, in order to apply my
effect to the smart object.
| | 03:45 |
Next I'm going to go ahead and switch
over to the crop tool, which of course,
| | 03:48 |
you can get by pressing the C key.
And I'm going to drag this edge down like
| | 03:52 |
so, until it's just below the bar, and
I'll go ahead and drag this corner up to
| | 03:56 |
this location here.
And then, if you really don't want to see
| | 04:00 |
any distorted details whatsoever, you
could crop out this vertical element over
| | 04:04 |
here on the left hand side.
And notice up here in the options bar,
| | 04:09 |
Delete Cropped Pixels is for some reason
turned on, but it doesn't matter, because
| | 04:12 |
we are working with the smart object,
there is no way to crop it with a crop
| | 04:15 |
tool.
You always hide pixels when your working
| | 04:20 |
with the smart object.
Alright, so I'll go ahead and press the
| | 04:23 |
Enter key, or the Return key on a MAC, in
order to accept that change.
| | 04:27 |
You'll have to wait a moment for the
preview to update, by the way.
| | 04:30 |
And then, I'll switch back to my
Rectangular Marquee tool, and I'll press
| | 04:33 |
the F key a couple of times in order to
zoom in on my image.
| | 04:37 |
And just so we can see what we've managed
to do here I'll press the F12 key, in
| | 04:40 |
order to revert the image.
That's the original amazingly bending
| | 04:45 |
seat right there.
And then if I press Control Z, or Command
| | 04:49 |
Z on the Mac, that is the straightened
version of the image, created by
| | 04:52 |
establishing manual constraint settings,
using the adaptive wide angle filter.
| | 04:58 |
| | Collapse this transcript |
| Stitching together a seamless panorama| 00:00 |
Perhaps the best thing about the Adaptive
Wide-Angle filter is how it allows you to
| | 00:04 |
correct panoramas that you stitched
together using Photoshop CS6 or later.
| | 00:10 |
And that's very important, because
earlier versions of Photoshop didn't save
| | 00:13 |
the lens data in the right way.
So in this movie I'll show you how to
| | 00:17 |
stitch together a handful of images to
create a panorama.
| | 00:21 |
I am looking at the content of the Carrie
Fergus Castle subfolder and I'm doing so
| | 00:25 |
in Bridge.
So if you're working inside Photoshop go
| | 00:29 |
to the File menu and choose Open in
Bridge in order to switch applications.
| | 00:33 |
And then I'll press Ctrl+A or Cmd+A on a
Mac, in order to select all the images.
| | 00:38 |
And I want to show you what's going on
here.
| | 00:40 |
Press the Space Bar in order to preview
each of the images, and if I press the
| | 00:44 |
right arrow key, you can see that I have
several portrait style shots that overlap
| | 00:48 |
each other like so.
And that's generally the best way to
| | 00:53 |
work, is to shoot portrait, create about
a third overlap between each one of your
| | 00:56 |
images, and just pivot in place as you
shoot the images.
| | 01:01 |
You don't have to tripod the shot, you
don't even have to lock down the exposure
| | 01:04 |
or anything if you don't want to, and in
my case, I did not.
| | 01:08 |
Alright I'll go ahead and Escape out of
here.
| | 01:11 |
Then to stitch these images together, you
go up to the Tools menu, here inside
| | 01:14 |
Bridge, you choose Photoshop, and then
you choose Photo Merge.
| | 01:18 |
And that's going to automatically switch
you over into Photoshop, and it's going
| | 01:22 |
to present you with all the images that
you had open inside the Bridge.
| | 01:27 |
Now typically, when I'm stitching
together a panorama, I'll go with either
| | 01:30 |
the cylindrical or spherical layout.
Perspective is a mess, and you'll see
| | 01:35 |
examples of all these in just a moment,
but it creates a bow tie effect, it
| | 01:39 |
really fails where this group of images
is concerned.
| | 01:43 |
Cylindrical ends up giving us a pretty
oddball result.
| | 01:46 |
Spherical, is what happens if you just
select Auto.
| | 01:50 |
In the case of these images, you never
know how it's going to work out.
| | 01:54 |
But I typically recommend one of these
two options.
| | 01:57 |
Because Auto is going to give us
Spherical anyway, I'll just leave it
| | 02:00 |
selected.
And then, you definitely want to blend
| | 02:03 |
the images together, there's no sense in
assembling a panorama otherwise.
| | 02:06 |
And you might as well turn on Vignette
Removal and Geometric Distortion
| | 02:09 |
Correction because that's going to give
you better results, even though it does
| | 02:13 |
take a little bit longer for the command
to complete.
| | 02:17 |
And by the way, in case you're wondering
what's going on with Collage and
| | 02:20 |
Reposition.
Collage is just going to scale the images
| | 02:22 |
an rotate them on top of each other, and
create a kind of collage, which will not
| | 02:25 |
look like a seamless panorama.
And then Reposition is just going to move
| | 02:29 |
the images around, so you don't want that
either.
| | 02:32 |
You definitely want to work with all the
files that you have open, and then you
| | 02:35 |
click Okay, in order to create the
panorama.
| | 02:38 |
In my case, I'm going to click Cancel
because I've already done this in advance
| | 02:41 |
and it takes a few minutes to apply, but
you can go ahead and do it if you like.
| | 02:45 |
Anyway, I'm going to cancel out, just so
we can see some examples of what you
| | 02:48 |
might achieve.
This is the result of selecting the
| | 02:51 |
Perspective layout, so we end up with
this bow tie effect.
| | 02:55 |
And, Photoshop has just gone ahead and
thrown away the first four images, it
| | 02:58 |
didn't even include them in the panorama,
because they would have been way too
| | 03:02 |
huge, I gather, over here on the
left-hand side.
| | 03:06 |
This is the result, where these images
are concerned, of a Cylindrical layout,
| | 03:10 |
so it ends up stretching the heck out of
the top of the castle, as you can see.
| | 03:14 |
We could work with that if we needed to.
Next is what happens if you select
| | 03:18 |
Automatic, but you don't apply any of the
corrections, so you don't correct for the
| | 03:22 |
vignetting, or the geometric distortion,
you end up with this effect here, which
| | 03:26 |
is okey dokey, I suppose, we could start
from there.
| | 03:32 |
And then finally, this is the image that,
I just set up.
| | 03:35 |
This is automatic, it's actually, it's
exactly the same effect you get with
| | 03:38 |
Spherical, with all the corrections
applied.
| | 03:41 |
And I want to show you what's going on
here in the Layers panel.
| | 03:44 |
What Photoshop has done is it's
independently distorted every single one
| | 03:48 |
of these images.
So there's 10 images in all, because
| | 03:51 |
that's the number of photographs we
selected in Bridge.
| | 03:55 |
And it masks them as well, and notice if
you turn off any one of the masks, you're
| | 03:59 |
going to see, a kind of weird effect.
Notice that the images no longer line up
| | 04:04 |
properly, and that's because Photoshop
only corrects the pixies that are found
| | 04:08 |
inside of the masked area.
It doesn't take care of any of the pixels
| | 04:13 |
that are masked away, which is to say
there's really no use in you modifying
| | 04:16 |
these masks, it's not going to do you any
good.
| | 04:20 |
You're just going to have to cross your
fingers and hope that Photoshop comes up
| | 04:23 |
with the best result possible.
Alright, so that's how you create a
| | 04:26 |
seamless panorama inside Photoshop.
In the next movie, I'll show you how to
| | 04:31 |
straighten this castle, using Adaptive
Wide-Angle.
| | 04:35 |
| | Collapse this transcript |
| Correcting a panorama with Adaptive Wide Angle| 00:00 |
In this movie, I'll show you how to use
the Adaptive Wide Angle filter to correct
| | 00:04 |
for the extreme distortion associated
with this panorama.
| | 00:07 |
Now, if you take a look at the Layers
panel, you'll see that we have a total of
| | 00:10 |
ten layers, all of which are selected.
If they aren't selected for you, go up to
| | 00:15 |
the Select menu and choose the All Layers
command.
| | 00:18 |
Then you have one of two options.
You can either keep all of these layers
| | 00:22 |
by right-clicking inside the image window
and choosing Convert to Smart Object.
| | 00:26 |
And that will put all of the ten layers
into a single smart object or if you
| | 00:29 |
want to save on file size, because that's
going to end up creating a huge file,
| | 00:32 |
which is what I want to do.
Then go up to the Layer menu, and choose
| | 00:37 |
Merge Layers or you can press Control+E
or Command+E on a Mac.
| | 00:41 |
Then, I'll go ahead and double-click on
this file name and get rid of the number
| | 00:44 |
and the extension at the end.
So it just reads Carrickfergus Castle.
| | 00:48 |
And now, I'll right-click inside the
image window and choose Convert to Smart
| | 00:51 |
Object.
So either one of those is going to work
| | 00:54 |
just fine.
Now, go up to the Filter menu and choose
| | 00:57 |
Adaptive Wide Angle to bring out the big
filter window.
| | 01:00 |
Notice that by default, correction is set
to panorama.
| | 01:04 |
You want to leave it that way, and now,
I'll start things off by Shift dragging
| | 01:08 |
along this bottom edge, like so, in order
to constrain the divider between the lawn
| | 01:12 |
of the castle and the parking lot here to
horizontal.
| | 01:17 |
And we do have a little wiggle.
We may have to come back to that one
| | 01:19 |
later.
But for now it's good enough.
| | 01:22 |
Now, I'll zoom in on the castle and I'll
pan over a little bit, and Shift drag
| | 01:26 |
from the corner of this turret, all the
way over to the left side here, in order
| | 01:30 |
to also constrain the top of that wall to
horizontal.
| | 01:36 |
Now, I want to constrain this edge to
vertical, so I'll Shift drag down, like
| | 01:39 |
so.
And notice that vertical constraints
| | 01:42 |
appear as magenta.
If you don't like that, you can override
| | 01:45 |
it by clicking on this little Flyout Menu
icon and choosing the Preferences
| | 01:48 |
command, and then for the Vertical
Constraint, I would just click on this
| | 01:51 |
magenta swatch to bring out the Color
Picker Dialogue Box, and dial in a
| | 01:54 |
different color.
But, I'm happy with the way things are,
| | 01:59 |
so I'll just go ahead and cancel out.
And notice by the way, because we have
| | 02:03 |
the lens data, I'm not getting that point
in the center to manipulate the curvature
| | 02:06 |
of the line.
That is to say, the Adaptive Wide Angle
| | 02:10 |
filter is doing that for me
automatically.
| | 02:13 |
Now, go ahead and drag down this edge
while pressing the Shift key in order to
| | 02:16 |
constrain it to more or less vertical
there's some wandering associated with
| | 02:20 |
this edge.
It's probably just a function of this
| | 02:25 |
being an old building and all that.
Alright, I'll go ahead and scroll over
| | 02:30 |
here, and Shift drag down this wall.
And I'll Shift drag down this wall as
| | 02:35 |
well.
To correct this phasing portion of the
| | 02:38 |
castle here, this facing wall, I'm
going to switch over to the Polygon
| | 02:41 |
Constrain tool.
And I'll go ahead and click here, and
| | 02:45 |
then click at this location.
Click down here as well and click on this
| | 02:49 |
corner.
And now let me show you a trick.
| | 02:51 |
If you press the Shift key as you're
dragging along here, as you're moving
| | 02:54 |
this point, so that you're connecting it
in place.
| | 02:58 |
Then you'll constrain that edge right
there to vertical.
| | 03:02 |
And, the thing is you've gotta do that in
advance, because whereas with the
| | 03:05 |
independent constrain lines, you can
right-click and change your mind.
| | 03:09 |
You can't do that with the polygons.
If you right click on this edge, notice
| | 03:12 |
that we just have these zoom options to
work with.
| | 03:15 |
So what do I do about the fact that I
failed to constrain this edge right
| | 03:19 |
there?
Well I can press and hold the Shift key.
| | 03:23 |
And then I can grab this point like so,
that anchor point, and that will go ahead
| | 03:27 |
and constrain that edge to vertical.
So, it's a little unpredictable because
| | 03:31 |
you never know which edge is going to
constrain but in this case, that took
| | 03:34 |
care of the problem there.
And, if I were to now Shift-click on this
| | 03:38 |
point, I would constrain this wall to
horizontal.
| | 03:41 |
At least, that's what the filter is
trying to do.
| | 03:44 |
If I don't like that, I would Shift-click
on it again in order to take that
| | 03:48 |
constrain away.
Alright, now, I'll Shift-click down this
| | 03:51 |
wall, but I still have the same tool
selected, and I didn't mean to do this
| | 03:54 |
with the polygon tools, so I'll just
click like so, in order to complete that
| | 03:56 |
shape.
And then I'll press the Alt key or the
| | 04:00 |
Option key on a Mac and click on that
triangle to delete it.
| | 04:03 |
And now, I'll switch back to the Standard
Constrain tool.
| | 04:06 |
And I'll go ahead and Shift drag down
this wall like so.
| | 04:09 |
And I might go ahead and drag across this
edge, notice this one turrets a little
| | 04:13 |
taller so I need to scoot this point
down.
| | 04:16 |
And there's no point in trying to make
this guy horizontal, it'll just mess up
| | 04:19 |
the image.
So just leave that constrain un-fixed.
| | 04:23 |
And now I'll Shift Drag down this wall.
So you can see, it's just a matter of
| | 04:27 |
dragging along every single edge that you
can find here.
| | 04:30 |
I'll go and Shift drag down this edge as
well, in order to constrain it to
| | 04:34 |
vertical.
And I'll Shift drag all the way down this
| | 04:38 |
guy, in order to constrain that edge like
so.
| | 04:41 |
And then, I might as well drag along
these turrets, although, they actually
| | 04:44 |
look pretty darn straight.
And I'll Shift drag on this edge
| | 04:48 |
constrain it to vertical.
You don't want to drag along this edge,
| | 04:52 |
because that's actually a rounded wall.
And if you're ever curious about that
| | 04:56 |
stuff, then you would just click OK to
accept your changes so far, and then open
| | 04:59 |
one of the original images and take a
look at it.
| | 05:02 |
Alright, now, I'll Shift drag down this
wall, and I'll Shift drag down this one
| | 05:07 |
here as well, and I'll Shift drag down
this guy.
| | 05:11 |
And then finally, I'll Shift drag down
this one in order to constrain it to
| | 05:16 |
vertical.
Alright, now I'll zoom out here to take
| | 05:20 |
in what I've done so far.
And you can see that this bottom edge is
| | 05:24 |
something of a mess, but everything else
seems to be in okay shape.
| | 05:29 |
And if you get to that point where it's
looking pretty darn good, but there are
| | 05:32 |
some flaws here and there.
What I recommend you do is click OK to
| | 05:35 |
accept your work so far, because last
thing you want to do is lose this amount
| | 05:39 |
of work.
And then at this point we might as well
| | 05:43 |
crop the image as well.
So I'll switch over to the Crop tool,
| | 05:47 |
which I can get by pressing the C key.
And I'll drag around this portion of the
| | 05:52 |
image, the area that I want to keep, and
I'll go ahead and move this over.
| | 05:56 |
Notice, there's like a little truck right
there or something, and I don't want him
| | 05:59 |
to be in the shot, so I'll just move this
edge over to the right a little bit.
| | 06:04 |
Then, I'll move the top edge up, so I can
take in more of the sky.
| | 06:06 |
Doesn't matter that Delete Crop Pixels is
turned on, because, after all, we're
| | 06:10 |
working with a Smart object, so it's
impossible to crop it.
| | 06:13 |
And then, you can see, as soon as you
press the Enter key or the Return key on
| | 06:16 |
the Mac, you're going to see the before
version of the image for a moment,
| | 06:19 |
because Photoshop has to recalculate it.
And then, press the M key in order to
| | 06:24 |
switch back to the rectangular marquee.
Okay, so we've managed to do quite a bit.
| | 06:29 |
If I press the F12 key, in order to
restore the distorted panorama, you can
| | 06:33 |
see that it was extremely distorted
previously and it was leaning down into
| | 06:37 |
the right, and it just looked ridiculous.
And now, if I press Ctrl+Z or Command+Z
| | 06:43 |
on the Mac in order to restore my
changes, it looks quite good, but it does
| | 06:47 |
not look perfect.
We have some tweaking to do and I'll show
| | 06:51 |
you what that tweaking looks like, how we
get exactly the results we need, in the
| | 06:55 |
next movie.
| | 06:57 |
| | Collapse this transcript |
| Aligning constraints and overcorrecting| 00:00 |
In this movie, I'll show you how to
straighten out this line down here at the
| | 00:03 |
bottom of the castle, in order to produce
this effect here.
| | 00:08 |
And it's a function of applying multiple
constraints.
| | 00:11 |
I'll also show you how to straighten out
these guys right here.
| | 00:15 |
Notice how these lean, and I guess
they're known as merlons.
| | 00:18 |
Anyway we don't want 'em to be leaning
like this.
| | 00:21 |
That's totally wrong.
We want to straighten 'em up.
| | 00:24 |
And that's going to be a function of over
correcting our constraints as you'll see.
| | 00:29 |
So first thing you need to do is
double-click on Adaptive Wide Angle here
| | 00:32 |
inside the Layers panel.
To revisit the settings you applied with
| | 00:36 |
the Adaptive Wide Angle filter and notice
that things are pretty off.
| | 00:40 |
You can see that we have got a lot of
lines that are not set in the wrong
| | 00:43 |
locations and it just going to get worse
as we fix the ground here.
| | 00:48 |
So we need to come back to those
constraints in a moment.
| | 00:51 |
i am going to drag this guy, the left
hand point that's associated with this
| | 00:55 |
bottom segment here.
I'm going to drag it over to, right about
| | 00:59 |
here, until it seems to more or less flow
with this ground line.
| | 01:05 |
Then I'll create another line from this
point on, because otherwise you can see
| | 01:08 |
we lose the constraint out to that point
and also press and hold the Shift key.
| | 01:14 |
As I drag in order to straighten out that
region.
| | 01:17 |
And then I Shift-drag from this location
to over about here, just near this little
| | 01:21 |
trash can, in order to straighten it out
as well.
| | 01:25 |
So that we have this perfectly horizontal
line.
| | 01:28 |
Between this little yard and this parking
lot.
| | 01:32 |
All right, now I'm going to make sure
that everybody is connected as well as
| | 01:35 |
they can be.
So I go ahead and drag this guy to that
| | 01:38 |
location, that one point that is.
And there's my right hand point
| | 01:41 |
associated with this constraint, and I'll
drag it over to there.
| | 01:45 |
We've got a little bit of wander at this
point, but it doesn't trouble me.
| | 01:49 |
It's not that big of a deal.
All right, let's do the same thing with
| | 01:52 |
this wall, because it does bug me that it
bows out like that.
| | 01:56 |
It might be the way the wall's really
constructed, but I don't care, I want to
| | 01:59 |
fix it.
So I'll drag this point up a little bit,
| | 02:02 |
and I'll drag this guy to right about
here, at the point where it's still
| | 02:06 |
bending along with the wall.
And then that creates a big problem of
| | 02:12 |
course, so I Shift-drag from here.
Down to the bottom right corner in order
| | 02:18 |
to straighten out that region as well.
All right now let's revisit the other
| | 02:23 |
lines we laid down.
This guy needs to move over a little bit
| | 02:26 |
and this is tedious.
You just have to do it though, because
| | 02:29 |
otherwise all your lines are off and you
won't get the results you're looking for.
| | 02:33 |
All right, let's go ahead and move this
guy up in order to straighten out that
| | 02:36 |
wall.
This wall line is a problem, so I'll go
| | 02:40 |
ahead and drag this point over just a
smidge.
| | 02:45 |
And then I'll scroll up.
And I need to drag this guy over more
| | 02:47 |
than a smidge, to that location there.
And so, you know, just a lot of fixing
| | 02:52 |
going on.
And then we'll come back to those
| | 02:54 |
merlons, or whatever they're called, and
we'll fix them as well.
| | 02:57 |
But we've gotta get these guys in the
proper locations first.
| | 03:01 |
So I'll take him up, like so.
And then I'll drag this guy over.
| | 03:06 |
It would be nice if you could select
multiple constraints at the same time and
| | 03:08 |
move them over.
Because they all seem to be just a few
| | 03:11 |
pixels off here.
But that's not possible.
| | 03:14 |
So I'll go ahead and move that guy over,
and then drag this guy down.
| | 03:19 |
I'm trying to make this as exciting as
possible folks, its just not exciting
| | 03:22 |
stuff I'm afraid.
And I'll go ahead and drag that guy over,
| | 03:25 |
maybe move that guy to about there, looks
pretty good, and he doesn't need to be
| | 03:30 |
moved.
I'll just leave him alone.
| | 03:33 |
This line is terribly off, so I'll go
ahead and drag it up, at least a few
| | 03:36 |
pixels off anyway, and drag this one
over, and this guy is more than a few
| | 03:40 |
pixels off, he's way off.
Go ahead and drag it up and then drag
| | 03:45 |
this guy to a new location, and take care
of this wall line.
| | 03:50 |
We've just got a few more.
Just hang in there.
| | 03:52 |
Drag this guy down over to this location.
That guy's not a real person.
| | 03:57 |
He's a mannequin that's just sitting
there looking down at the grass or
| | 03:59 |
whatever.
Drag this over.
| | 04:01 |
Just a little color commentary for you.
I'll go ahead and drag this to a
| | 04:04 |
different location.
Drag this guy over, he needs to be moved
| | 04:08 |
as well, he's definitely off, and I think
I missed a line.
| | 04:13 |
going to go ahead and scroll up here.
I think there's a line up here that needs
| | 04:17 |
work, yep.
And I'll go ahead and drag it up and
| | 04:19 |
over.
And then I'll drag this up and over, as
| | 04:22 |
well.
All right, we're done with all those.
| | 04:24 |
So, I'm going to scroll over to these
guys right here.
| | 04:28 |
Now, I note about these little merlons,
or whatever they're called.
| | 04:33 |
First of all, it may seem like the
perspective is now off, but in fact its
| | 04:37 |
not.
This is the way they actually look.
| | 04:40 |
Again, you can reference the original
image.
| | 04:42 |
That is to say their tops are not flat.
They're at an angle.
| | 04:47 |
And so we're seeing that angle reflected
in each one of these guys.
| | 04:51 |
But, they shouldn't bend.
They're not, you know, loaves of bread or
| | 04:54 |
something, so I'll go ahead and drag a
constraint here, and I'll press the Shift
| | 04:57 |
key, the Constraint to Vertical, and that
doesn't really work.
| | 05:00 |
I don't actually get a vertical line, so
what I need to do is overcompensate by
| | 05:04 |
dragging this guy to something like 100
degrees in order to straighten out that
| | 05:08 |
line.
So that kind of stuff is possible, you
| | 05:11 |
can do it.
And I'll Shift-drag on this edge as well
| | 05:14 |
in order to constrain it to vertical, and
looks like that works pretty well.
| | 05:20 |
And then this guy's a little doughy, too,
so might as well work on him.
| | 05:24 |
I'll drag a little line there.
Press the Shift key in order to constrain
| | 05:27 |
it to vertical, doesn't really work.
So I'll go ahead and drag it over to 100
| | 05:31 |
degree or so in order to overcompensate
for it as well.
| | 05:36 |
And then you just need to pick and choose
which ones you want to work on here.
| | 05:40 |
You know, every once in a while you just
want to throw in another constraint line.
| | 05:44 |
And see what happens.
We want one at this location and that's
| | 05:48 |
not going to do it.
So we need to overcompensate on it as
| | 05:51 |
well, and move it up and over.
This one looks like it needs some work.
| | 05:55 |
So you can be as much of a perfectionist
as you want, its totally up to you, or
| | 05:59 |
you can just give up and (COUGH) to not
worry about it anymore.
| | 06:04 |
This guy wants to move too, about there
that looks good.
| | 06:07 |
And maybe a couple of more, maybe one at
this location.
| | 06:11 |
Shift-drag regionally then rotate it over
to the right a little bit in order to
| | 06:16 |
compensate.
And then, maybe him.
| | 06:22 |
Maybe, maybe this edge needs something,
and I'll just leave it at vertical.
| | 06:26 |
That seems to have worked out pretty
well.
| | 06:28 |
All right, let's just check out our work.
Everything seems to be in order here.
| | 06:33 |
So, I'll just go ahead and zoom out, and
make sure none of my other constraints
| | 06:36 |
has fallen apart, and it looks like
everybody is holding up really well,
| | 06:39 |
good, grateful to see that.
And now I'll click OK, in order to accept
| | 06:44 |
that change, and then I'll zoom in, and
this sometimes happens, where, when
| | 06:47 |
you're in the filter looked like
everything was fine.
| | 06:52 |
But once you get out of the filter, you
still need to do some work, so I'll
| | 06:55 |
double-click on Adaptive Wide Angle again
Zoom In by Ctrl+Space Bar-dragging.
| | 07:00 |
That's a Cmd-Space Bar-drag on a Mac.
Select this guy.
| | 07:03 |
He needs to go farther than 100 degrees
so I'll send him to, I don't know, 104
| | 07:07 |
maybe farther even.
Let's go 109 or so and see what happens.
| | 07:12 |
all right.
That should be at least corrected at this
| | 07:14 |
point, its leaning inward now.
I'll click OK in order to accept that
| | 07:18 |
change.
And that to me looks pretty darn good.
| | 07:22 |
All right, now I'll press the F key a
couple of times in order to switch to
| | 07:25 |
full screen mode.
And I'll go ahead and zoom out, and you
| | 07:29 |
can see that we've got this beautiful
straight edge on the bottom of the
| | 07:32 |
castle.
Our merlons or whatever are no longer
| | 07:36 |
leaning over here on the right hand
portion of the image.
| | 07:40 |
Now we have a splendidly corrected
multi-image panorama, thanks to the power
| | 07:44 |
of the Adaptive Wide Angle filter, here,
inside Photoshop.
| | 07:49 |
| | Collapse this transcript |
|
|
38. Puppet Warp and AnimationDistorting an extracted image| 00:00 |
In this chapter I'll be covering two
related, but fundamentally independent
| | 00:04 |
topics, puppet warp and animation.
The Puppet Warp command allows you to
| | 00:08 |
take an extracted image, such as a person
that's been masked away from a scene, and
| | 00:12 |
then you can lay down pins and move
things around.
| | 00:15 |
For example, I'll use my arm to
demonstrate.
| | 00:18 |
I could lay a pin down here at the elbow
and one at the hand and then move the
| | 00:20 |
hand pin.
And that would move the hand with respect
| | 00:24 |
to the elbow just as you're seeing right
now.
| | 00:27 |
We're going to use puppet warp to animate
the wings of a bird, and then we'll take
| | 00:31 |
that flapping bird and turn it into a
sequence of frames.
| | 00:35 |
And then we'll add some animated text as
well, and we'll export the whole thing as
| | 00:39 |
a QuickTime movie and as an animated GIF
file.
| | 00:43 |
For those of you who love doing goofy
stuff to photographic images.
| | 00:47 |
I'll be darned if I've ever seen anything
like the following movies.
| | 00:53 |
| | Collapse this transcript |
| Extracting a foreground from a background| 00:00 |
Over the course of the next few movies,
we're going to take this falcon, which
| | 00:03 |
comes to us from the Fotolia image
library, about which you can learn more
| | 00:07 |
at Fotolia.com/deke, and we're going
transform it into this bird in flight
| | 00:10 |
here.
And we'll do so using the Puppet Warp
| | 00:14 |
command.
But, before we go there, we need to
| | 00:16 |
extract the bird from its background.
Which is frequently the case when you're
| | 00:21 |
working with Puppet Warp.
So, let me show you how that works.
| | 00:24 |
Now, a lot of the work I've done for you
in advance.
| | 00:26 |
I've drawn this intensely complicated
path outline that we'll use to select the
| | 00:29 |
bird.
And now I will show you how the
| | 00:31 |
extraction works because not only do we
need to move the bird on to its own
| | 00:35 |
independent layer but we need to get rid
of the bird in the sky background.
| | 00:40 |
So I will go and switch over to the base
image file and the first thing that we
| | 00:43 |
want to do is copy this image to a new
layer by pressing Ctrl Alt J command
| | 00:46 |
option J on the Mac and lets just go
ahead and call this layer original.
| | 00:52 |
And then click OK.
Now switch over to the paths panel, and
| | 00:55 |
click on this path outline to make it
active, and then you can switch back to
| | 00:59 |
the layers panel.
And rather than clicking on the add
| | 01:02 |
layermask icon, go ahead and press the
control key, or the command key on the
| | 01:06 |
Mac and click.
And that will convert that path outline
| | 01:10 |
into a vector mask for this new layer.
Alright now you can turn it off, we'll
| | 01:14 |
get back to it in a moment.
Now lets get rid of the bird in the
| | 01:17 |
original background here.
And I'll do that, by switching to the
| | 01:21 |
Lasso tool, which of course you can get
by pressing the L key.
| | 01:24 |
And then I'll press and hold the Alt key,
or the Option key on a Mac, and click
| | 01:28 |
around the perimeter of the animal like
so, until I've selected obviously too
| | 01:31 |
much.
I'm giving myself a lot of wiggle room,
| | 01:36 |
outside of the bird.
But once you arrive at a selection
| | 01:38 |
outline that looks more or less like
that.
| | 01:41 |
Then go up to the edit menu, and choose
the fill command, or you can press
| | 01:44 |
Shift-backspace on the PC, or
Shift-delete on a (Mac), and change the
| | 01:48 |
use option right here to content aware,
and then, make sure your blending options
| | 01:51 |
are set to their defaults, as they are in
my case, and click OK, in order to fill
| | 01:55 |
in this selected region, with a bunch of
content aware stuff that Photoshop is
| | 01:58 |
finding outside the selection Alright,
now press Control D, or Command D on a
| | 02:02 |
Mac, in order to deselect the image.
Obviously Photoshop didn't do exactly a
| | 02:11 |
perfect job, we can see seams all over
the place, but you can heal away a lot of
| | 02:15 |
that by switching to the Standard Healing
Brush and then Alt click, or Option click
| | 02:19 |
in this transitional area right there,
and maybe paint over around here.
| | 02:26 |
And then, Alt or Option click down below
in the blue area, and paint along this
| | 02:30 |
line like so.
And do whatever it takes to just
| | 02:34 |
generally fill in this area.
Now it's unlikely without an awful lot of
| | 02:37 |
work that you're going to do a perfect
job of it, that you're not going to be
| | 02:41 |
able to see some sort of seam, or smudge,
or something going on.
| | 02:46 |
And so here's the quick and dirty way to
solve that problem.
| | 02:49 |
We've got very low focus going on, as you
can see here.
| | 02:52 |
So why not just blur the image by going
up to the Filter menu, choosing Blur.
| | 02:56 |
And choosing Gaussian Blur.
Or if you loaded D keys, you have that
| | 02:59 |
shortcut of Shift F6.
And then crank the radius value where
| | 03:03 |
this image is concerned, up to 50 pixels,
five zero.
| | 03:06 |
And then click Okay, in order to accept
that change.
| | 03:10 |
And we have this nice smooth sky.
All right now press the M key to switch
| | 03:14 |
back to the rectangular marquee tool and
I'll turn on the original layer and just
| | 03:17 |
like that we've got our falcon extracted
from the sky and the background.
| | 03:22 |
Both separate elements so that we can
edit them independently, using Puppet
| | 03:27 |
Warp, as I'll explain in the next movie.
| | 03:30 |
| | Collapse this transcript |
| Introducing the Puppet Warp command| 00:00 |
In this movie, I'll introduce you to the
Puppet Warp command.
| | 00:05 |
If you're working along with me, go ahead
and click on that original layer there,
| | 00:08 |
that represents the extracted falcon, and
let's create a copy of it by pressing
| | 00:11 |
Ctrl Alt J, or Cmd Option J on a Mac.
And I'll call this new layer Wings and
| | 00:17 |
click OK.
The next thing you want to do, before you
| | 00:19 |
launch into Puppet Warp, is convert the
layer to a smart object, because that's
| | 00:23 |
going to give you way more flexibility
and you'll be able to come back and
| | 00:26 |
revise your settings later.
And of course to do that, you right-click
| | 00:32 |
inside the image window with the
Rectangular Marquee, and choose Convert
| | 00:35 |
to Smart Object.
That goes ahead and places both the image
| | 00:38 |
itself and its vector mask into that
smart object, by the way.
| | 00:42 |
And that also permits you to edit both
the image and its mask in sync with each
| | 00:45 |
other.
Now, go up to the Edit menu and choose
| | 00:49 |
Puppet Warp.
And you'll initially be confronted by
| | 00:53 |
this mesh, which represents a kind of
distortion matrix.
| | 00:57 |
I don't find it to be all that helpful,
and I think it gets in the way when
| | 01:00 |
you're editing.
And if you agree, then you can turn off
| | 01:03 |
the Show Mesh checkbox up here in the
Options bar.
| | 01:06 |
Now notice how things work.
When you're working inside the Puppet
| | 01:09 |
Warp mode, your setting pins.
So the cursor appears as a tack.
| | 01:14 |
And you click in order to add a pin to
the image.
| | 01:17 |
If you have just one pin, and you move it
around, then you're going to move the
| | 01:21 |
entire layer.
So I'll go ahead and press Ctrl Z, or Cmd
| | 01:24 |
Z on the Mac, to Undo that change.
You have exactly one level of Undo while
| | 01:28 |
your working inside the Puppet Warp mode,
by the way.
| | 01:32 |
If you were to set another point, like
this, and then you started dragging it
| | 01:35 |
around, the deselected point is going to
be locked down.
| | 01:40 |
And then, you'll rotate the image around
that point.
| | 01:43 |
I'll go ahead and press Ctrl Z, or Cmd Z
on the Mac, to Undo that change as well.
| | 01:47 |
Then, if you have three pins and you drag
one of them around, notice that you're
| | 01:51 |
stretching the image with respect to
these two points that are locked down.
| | 01:56 |
And everything that's not locked down
over here on the left side of the bird
| | 01:59 |
moves as well.
All right, I'm not looking to do any of
| | 02:03 |
this.
I just want to show you how things work.
| | 02:06 |
So the idea is, if you don't want
something to move, you need to lock it
| | 02:09 |
down.
So both the stuff that you want to change
| | 02:12 |
and the stuff that you want to leave
alone need to have pins in them.
| | 02:17 |
I'm going to get rid of the pins I've
created so far.
| | 02:19 |
And you can do that in one of two ways.
You can press the Alt key, or the Option
| | 02:22 |
key on a Mac, in which case when you
hover over a pin, your cursor changes to
| | 02:25 |
a little pair of scissors.
And then you click in order to delete the
| | 02:29 |
pin.
Or, you can right-click in the Puppet
| | 02:32 |
Warp mode, and choose Remove All Pins to
get rid of everything you've done so far.
| | 02:36 |
All right, I want to make sure that the
falcon's eyes remain nice and sharp, even
| | 02:40 |
after I get done making some edits.
So I'm going to click inside of each eye
| | 02:45 |
to lock it down, and also click on the
beak to set a point there.
| | 02:50 |
And, if you end up getting this warning
that tells you, you're trying to set up
| | 02:53 |
one pin too closely to another, for now
just click OK.
| | 02:57 |
I'll explain more about what that means
in a future movie.
| | 03:00 |
But just click OK, and click to set a
point farther down the beak, like so.
| | 03:04 |
All right, now I'll zoom out a little
bit, and I'm now going to set points at
| | 03:07 |
the base of the wings, like so, both at
the top and the bottom of each wing.
| | 03:12 |
And then I'm going to set a couple of
points at his knees here, in order to
| | 03:15 |
lock them down.
And then finally, I'll zoom out a little
| | 03:19 |
bit and set a point right about there
inside of the wing, and set another point
| | 03:24 |
closer to the tip.
And then, I'll set a point here, and
| | 03:28 |
another one closer to the tip of the
left-hand wing.
| | 03:32 |
All right, now I'll zoom out a little
more so I can take in more of my image at
| | 03:35 |
a time.
And I'll grab this guy right there and
| | 03:39 |
I'll drag him down like so.
And notice that everything that's
| | 03:44 |
de-selected is not moving.
So I'm only moving this one portion of
| | 03:47 |
the image.
So I have an unique degree of control
| | 03:50 |
over how I'm distorting this layer.
All right, now I'll go ahead and drag
| | 03:54 |
this guy down to about here as well.
And I might take things down a little
| | 03:59 |
farther here on both sides of the bird,
like so.
| | 04:03 |
And if you like, you can also adjust
these middle points in the wings in order
| | 04:06 |
to give them a little more bend.
Then when you're done, go ahead and press
| | 04:10 |
the Enter key, or the Return key on a
Mac, in order to escape the Puppet Warp
| | 04:13 |
mode and apply Puppet Warp as a smart
filter, here inside the Layers panel.
| | 04:19 |
Now, you do have the option of adding a
filter mask, which you might think would
| | 04:22 |
be very handy for painting away the stuff
that you don't want to see move, for
| | 04:26 |
example, in the bird's head.
But you're better off locking that stuff
| | 04:31 |
down, because if you paint it away,
you're going to have weird either harsh,
| | 04:34 |
or soft gradual transitions, neither of
which make any sense.
| | 04:39 |
So, if you don't need a filter mask, it's
always a good idea just to right-click on
| | 04:42 |
it and choose Delete Filter Mask to
reduce clutter inside the Layers panel.
| | 04:46 |
And then finally, my Rectangular Marquee
tool is still active, so I'll press the 7
| | 04:51 |
key in order to reduce the opacity of
this layer to 70%.
| | 04:55 |
And that, folks, is how you take
advantage of the Puppet Warp mode here
| | 04:59 |
inside Photoshop.
| | 05:01 |
| | Collapse this transcript |
| Changing the mode and adding rotation| 00:00 |
In this movie I'll show you a variety of
ways to edit your existing Puppet Warp
| | 00:04 |
settings, including the option for
changing the mode and assigning rotation
| | 00:08 |
to a pin.
Alright I want some intermediate wings
| | 00:11 |
here, so I'm going to create another copy
of the bird, by selecting the Wings
| | 00:14 |
Layer.
And pressing Control J or Command J on a
| | 00:18 |
Mac.
Then I'll double click on Puppet Warp for
| | 00:21 |
the top wings layer, in order to once
again to enter the Puppet Warp mode.
| | 00:26 |
Now I want to move both wings together,
so I'm going to click on one pin and
| | 00:29 |
Shift click on another.
So you can select as many pins as you
| | 00:33 |
like just by Shift clicking on them, and
then if you end up adding a pin.
| | 00:37 |
Like I select a third pin by Shift
clicking on it, and you think better of
| | 00:40 |
it.
You decide you don't want to select it.
| | 00:42 |
Then just Shift click on that pin again.
Now I'll go ahead and drag the winds up
| | 00:47 |
like so.
And I'm dragging this guy up and out a
| | 00:50 |
little bit, the pin the on the right.
And now I'll Shift Click on it to
| | 00:54 |
deselect it and I'll drag this left hand
pin farther over to the left like so.
| | 00:59 |
And then I'll press the Enter key or the
Return key on a Mac in order to accept
| | 01:03 |
that change, and I'll press the 5 key in
order to reduce the opacity in this layer
| | 01:07 |
to 50%.
Alright now I'm going to switch back to
| | 01:11 |
the bottom wings layer to make it
active..
| | 01:14 |
And I want to make some adjustments here,
so I'm going to double click on the words
| | 01:17 |
Puppet Warp in order to enter the Puppet
Warp mode for this layer.
| | 01:21 |
And I'm not really happy with the
location of this pin, so I'm going to
| | 01:23 |
press the Alt key, or the Option key on
the Mac, and click on it to get rid of
| | 01:26 |
it, and then I'll click farther up around
here on the wing in order to set a pin at
| | 01:29 |
that location.
And now I'm going to drag this guy down.
| | 01:35 |
And, this one as well.
Now, I want you to notice the mode
| | 01:38 |
setting over here in the far left side of
the options bar.
| | 01:42 |
There's rigid, normal, and distort.
The difference between rigid and normal
| | 01:47 |
is pretty slight, but basically if you
select normal as by default, then you're
| | 01:50 |
going to have smoothly curving details.
But if you want a little more elbow, for
| | 01:55 |
example, I don't want this much slope on
the wing lets say I want to little more
| | 01:59 |
of a corner at this location then you
will switch from normal to rigid.
| | 02:04 |
None actually looks a little better to
me, its not that different but it does
| | 02:08 |
look slightly better with the exception
of this little weirdness right there and
| | 02:11 |
you can end up having this kinds of
problems when you are working with rigid
| | 02:14 |
or even normal under certain
circumstances.
| | 02:19 |
So I am not going to do that route, and
just so you have a sense of what's going
| | 02:22 |
on, I'll show you Distort.
Distort magnifies certain regions.
| | 02:26 |
So if I was to drag this point outward
like so, you can see that the wing is
| | 02:30 |
growing as I do so, and if I were to drag
it back or somehow increase this area,
| | 02:35 |
notice it gets this big sort of beefy,
wing bicep or something.
| | 02:42 |
I'm going to switch away from that back
to normal, which is what I'm looking for.
| | 02:46 |
Instead, to get the kind of effect I
want, I'm going to press the Alt key, or
| | 02:50 |
the Option key on a Mac.
And notice that when I move my cursor
| | 02:54 |
away from the pin, I see the circle
surrounded by four handles, and my cursor
| | 02:58 |
changes to a Rotate cursor.
Now, by default, Rotate is set to Auto.
| | 03:04 |
So Photoshop is going to make the
decision about how to rotate the detail
| | 03:08 |
around each and every pin on its own, and
right now it's automatically selecting 40
| | 03:11 |
degrees, but I could add a little more
angle by reducing that value if I wanted
| | 03:15 |
to,and I could do that by Alt dragging up
like so, and then I could do the same
| | 03:18 |
thing with this pin.
So you select the pin, press the Alt key
| | 03:25 |
or Option key on the Mac, and then I
drag, for example, backward a little bit
| | 03:28 |
in order to add a little bit of a slope
up there.
| | 03:33 |
And I'm going to do the same thing over
in this region, too, so we'll go ahead
| | 03:37 |
and select this pin and alter option drag
up on it to increase the angle of that
| | 03:40 |
elbow, and I might drag it down slightly
as well.
| | 03:45 |
And then I'll press the Alt key or the
Option key on the Mac and drag upward on
| | 03:49 |
this one in order to reduce its angle
value as well.
| | 03:52 |
And if you ever change your mind, if you
decide you want Photoshop to be in charge
| | 03:56 |
of a specific pin, then change Rotate
back to Auto.
| | 04:01 |
And in my case that's not what I want to
do, so I'll press Ctrl+Z, Cmd+Z on the
| | 04:04 |
Mac, to reapply that modification.
And then I'll go ahead and zoom out, so I
| | 04:09 |
can take in more of the bird at a time.
So I'll press the Enter key or the Return
| | 04:13 |
key on the Mac in order to apply that
change.
| | 04:16 |
Then I'll go back to this wing's layer
for a moment.
| | 04:19 |
Double-click on Puppet Warp.
You can see how advantageous it is that
| | 04:22 |
we're working with smart objects.
So that you can change your mind as much
| | 04:25 |
as you want.
Then I'll press the Enter key, or the
| | 04:27 |
Return key on a Mac, to accept that small
edit.
| | 04:30 |
And I'll Shift-click on Original.
So both of the wing's layers and the
| | 04:34 |
original layer, is selected.
And now press the Ctrl key and the
| | 04:37 |
command key on the Mac to temporarily
access the move tool and I will drag the
| | 04:40 |
bird to more central location here inside
the composition.
| | 04:45 |
So that's how you go about modifying your
existing Puppet Warp settings, including
| | 04:49 |
changing the mode which affects the
entire operation at a time incidentally,
| | 04:53 |
and assigning fixed rotational values to
your pins.
| | 04:58 |
| | Collapse this transcript |
| Adjusting the Expansion value| 00:00 |
In this movie, I'll demonstrate the
Expansion value, which allows you to
| | 00:03 |
soften the edges around your effect.
I'm going to edit the bottom of the two
| | 00:08 |
wings layers here by double-clicking on
Puppet Warp, or you can double-click on
| | 00:11 |
the little slider icon.
Either way, you'll enter the Puppet Warp
| | 00:16 |
mode.
So in other words, there's no way to
| | 00:18 |
change the blending associated with the
Puppet Warp effect.
| | 00:21 |
Now, if I zoom in over here on this
right-hand wing, you can see that I've
| | 00:25 |
got some iffy edges, there's some clip
details going on.
| | 00:29 |
And I can bring those details back by
increasing this expansion value.
| | 00:33 |
So, what you want to do is turn on Show
Mesh just for a moment.
| | 00:37 |
So, you can see how the mesh goes 2
pixels outside of the wings.
| | 00:41 |
However, I can take that value even
higher.
| | 00:43 |
I could change it to 12 pixels, and
that's going to smooth out those
| | 00:46 |
transitions significantly.
I'll go ahead and press the Enter key or
| | 00:50 |
the Return key on the Mac a couple of
times in order to accept that change.
| | 00:54 |
And just so you have a sense of what
happened, I'll press Ctrl+Z or Cmd+Z on
| | 00:57 |
the Mac to undo.
And you can see that this detail is not
| | 01:01 |
very good at all.
Whereas, if I press Ctrl or Cmd+Z to redo
| | 01:04 |
the effect, things look much better.
You can also reduce that value if you
| | 01:09 |
want to.
I'll go ahead and double-click on Puppet
| | 01:11 |
Warp yet again and I'll reduce the value
to, let's say, negative 12.
| | 01:15 |
And the only reason you'd want to do
that, and I'll turn off Show Mesh,
| | 01:18 |
because we end up getting these very
rough transitions.
| | 01:21 |
The only reason you'd do this is if your
edges weren't particularly well-drawn in
| | 01:24 |
the first place.
And that's definitely not the case for
| | 01:27 |
our bird.
I spent an awful lot of time on that path
| | 01:30 |
outline.
Another thing to watch out for when you
| | 01:32 |
reduce the expansion value, is that you
can end up losing pins.
| | 01:37 |
And in my case, I lost the pin over here
on the left hand tip of the wing.
| | 01:41 |
So, I'll press the Escape key in order to
abandon that change.
| | 01:44 |
I want to show you a couple more things
about expansion.
| | 01:47 |
It's a really interesting feature once
you come to terms with it.
| | 01:50 |
I'll double-click on Puppet Warp again in
order to enter the Puppet Work mode.
| | 01:54 |
And remember, when the expansion value
was down at 2 pixels and I changed the
| | 01:57 |
mode to rigid, I ended up getting these
weird, spiky feathers.
| | 02:02 |
Well, that goes away as well, when you
increase the Expansion value.
| | 02:06 |
So, notice now that I take the expansion
value back up to 12 pixels and I end up
| | 02:09 |
keeping some really great edges.
Problem is, because I reduce the value,
| | 02:13 |
and then brought it back up, I ended up
losing this pin over here on the left
| | 02:16 |
hand wing.
So, I'm going to go ahead and take it
| | 02:20 |
down like so, and I'll take this kind of
elbow, down a little bit as well.
| | 02:24 |
Maybe take this pin down because it ended
up rising quite a bit and it's lower on
| | 02:28 |
that wing.
So, I'm going to recreate it by
| | 02:30 |
Alt-clicking or Option-clicking on the
pin to get rid of it, and then recreating
| | 02:34 |
the pin right about there.
And now I can drag it up or down
| | 02:38 |
depending on my needs.
Now, one problem that has occurred is
| | 02:42 |
that the tail feathers are now out of
alignment.
| | 02:45 |
And so, I have a couple different options
available to me.
| | 02:47 |
One, is I could set some pins in these
feathers.
| | 02:50 |
For example, I could set a pin right
there.
| | 02:52 |
And then I could try to nudge these pins
into better alignment.
| | 02:55 |
And you can do this from the keyboard, by
the way, by pressing the Arrow keys.
| | 02:59 |
Or, another way to work, I'll just go
ahead and remove these tail feather pins
| | 03:02 |
by Alt+clicking or Option clicking on
each one.
| | 03:05 |
Then I'll press the Enter key or the
Return key on a Mac, in order to accept
| | 03:09 |
that modification.
And I'll hide the changes inside the tail
| | 03:13 |
by creating a filter mask.
So, I'll go ahead and grab my Lasso tool
| | 03:17 |
here, which I can get by pressing the L
key.
| | 03:20 |
I'll press and hold the Alt key or the
Option key on the Mac in order to draw a
| | 03:23 |
polygonal selection outline like so, and
I'll go ahead and take this guy up into
| | 03:27 |
the body of the bird.
And then, I'll right-click on Smart
| | 03:32 |
Filters here inside the Layers panel, and
I'll choose Add Filter Mask.
| | 03:36 |
That's the opposite of what I want.
I've now masked away the wings.
| | 03:40 |
So, I'll press Ctrl+I or Cmd+I on a Mac
to invert that mask, and it looks like we
| | 03:44 |
have some very nice transitions here.
I'm not seeing any pixels shift as we go
| | 03:49 |
down the bird's body.
All right.
| | 03:51 |
Now I'll just go ahead and zoom out so
that we can take in the entire effect.
| | 03:54 |
And that's how you work with expansion
when applying puppet work inside Photo
| | 03:59 |
shop.
| | 04:00 |
| | Collapse this transcript |
| Using Pin Depth and Density| 00:00 |
In this movie I'll demonstrate two last
options that are associated with Puppet
| | 00:04 |
Warp, mainly pin depth in density.
As you can see here, I have modified my
| | 00:09 |
file and I've created a total of 18 wing
variations in preparation for animating
| | 00:13 |
the bird.
And if you take a close look here you can
| | 00:17 |
see that the wing moves slowly at first
and then starts moving more quickly.
| | 00:21 |
Just to give you a sense of what I did
because there's really no big trick to
| | 00:24 |
this.
I just kept piling more and more versions
| | 00:27 |
of the bird subject to different puppet
warps but I will show you how to create a
| | 00:31 |
19th variation.
So I have the top wings layer selected
| | 00:35 |
here inside the layers panel.
I'll go ahead and press control J, or
| | 00:39 |
command J on a Mac in order to jump a
copy of it.
| | 00:43 |
And you're probably not going to notice
any difference inside your layers panel,
| | 00:46 |
but as long as you hit that keyboard
short cut you do have a new version of
| | 00:48 |
that falcon.
Then double click on Puppet Warp for that
| | 00:52 |
top wings layer in order to bring up the
pins as you see here, and then I'm
| | 00:56 |
going to drag this guy just slightly down
like so, because I want the wing to slow
| | 00:59 |
down a little bit at this point.
And I'll drag this guy downward a little
| | 01:06 |
bit as well.
And then Ill take this guy down to right
| | 01:09 |
about there and Ill move this pin into
this position.
| | 01:14 |
Alright let me show you a couple things
that are going on here.
| | 01:16 |
I'm going to go ahead and zoom in on my
bird so we can see the area where the
| | 01:20 |
wing overlaps the tail, and you can see
my tail is wiggling around a little bit
| | 01:23 |
because I didn't nail it down.
But we do have the option when you have
| | 01:29 |
overlapping areas of a single puppet warp
layer.
| | 01:32 |
You can specify which areas are in front
of which.
| | 01:36 |
So, for example, if I went ahead and
clicked on this pin right there, and went
| | 01:39 |
up to the Options bar, notice that I have
these two Pin Depth options.
| | 01:43 |
So I could go ahead and send this guy to
the back, like so.
| | 01:47 |
And then it's going to move behind the
tail.
| | 01:49 |
Now you may end up seeing this kind of
rotten effect around the tail.
| | 01:53 |
That's going to disappear in just a
moment.
| | 01:55 |
But just for the sake of demonstration,
I'm going to scroll over to the left hand
| | 01:58 |
wing, select its pin, and send it to the
back as well.
| | 02:02 |
And you may find that you also need to
set a few neighboring pins to back when
| | 02:04 |
you're working with your own layers.
But in our case this is going to work out
| | 02:08 |
fine.
Then if you're working along with me
| | 02:10 |
press the Enter key or the Return key on
the Mac in order to implement that
| | 02:13 |
change.
And you should see those weird edges
| | 02:16 |
disappear.
And just to make sure, I'll Alt+click or
| | 02:18 |
Option+click on the eye ball in front of
this wings layer.
| | 02:22 |
So that we can just make sure that all of
our transitions Are in good shape.
| | 02:26 |
And actually the tail looks just fine in
front of the wings.
| | 02:29 |
However, I prefer to have the wings in
front.
| | 02:32 |
So I'm going to double-click on Puppet
Warp once again, and I'll select this
| | 02:36 |
pin.
Notice the big problem that we appear to
| | 02:38 |
have but not really there.
Anyway I'm going to go ahead and click on
| | 02:42 |
this pin to select it, and then I'll go
up to the Options bar.
| | 02:45 |
And click on the Set Pin Forward icon in
order to move the wing in front.
| | 02:49 |
Now it looks like we've got a problem at
the base of the wing, and then I'll go
| | 02:52 |
ahead and scroll over to the left hand
wing, select this pin and send it to
| | 02:55 |
front as well.
Now one other option I want to point out
| | 02:59 |
here, I'll go ahead and scroll up.
Notice that I've lost the pin inside this
| | 03:03 |
right-hand eye.
And this kind of stuff routinely happens
| | 03:06 |
when you're working with Puppet Warp.
The culprit is that this pin up here in
| | 03:09 |
the forehead got too close and it knocked
this guy out.
| | 03:12 |
And I can tell that's the case because as
soon as I click on this eye to try to add
| | 03:15 |
another pin.
Photoshop barks at me and tells me that
| | 03:18 |
it can't add the pin because it's too
close to an existing one.
| | 03:21 |
And what you have to do to solve this
problem is choose density more points.
| | 03:25 |
That is, you have to choose more points
from this little pop-up menu, up in the
| | 03:28 |
Options bar.
And so you might wonder, well why doesn't
| | 03:30 |
it just do it for you?
Let me show you.
| | 03:32 |
We;ll go ahead and click okay, in order
to acknowledge that message and then I'll
| | 03:36 |
switch density from normal to more
points.
| | 03:39 |
So you can either go with fewer or more
points if you like.
| | 03:42 |
And as soon as you do that, the entire
shape of the bird is going to change on
| | 03:45 |
you, which is a pretty big problem, and
that's something we want.
| | 03:50 |
So that's just something you have to bear
in mind.
| | 03:52 |
If you need more points, you're going to
have to make that decision earlier than
| | 03:55 |
on your nineteenth bird, for example.
So to return the bird to the way he
| | 03:59 |
looked before I'm going to go ahead and
set density back to normal and then I'll
| | 04:02 |
press the Enter key, or the Return key on
the Mac.
| | 04:06 |
And notice by the way, as soon as I do,
that these weird edges under both of the
| | 04:09 |
wings end up resolving away as you see
here.
| | 04:13 |
All right, let's just check our work.
I'll Alt click or Option click on this
| | 04:16 |
eye to bring back all the other layers
once again.
| | 04:19 |
And then I'll go ahead and zoom out.
And sure enough this guy looks fine in
| | 04:24 |
the context of the other wings.
So that's how you use Pin Depth and
| | 04:27 |
Density, both available from the Options
bar, as well as how you use Puppet Warp
| | 04:32 |
in order to create an animated sequence.
| | 04:35 |
| | Collapse this transcript |
| Applying Puppet Warp to editable text| 00:00 |
In this movie, I'll show you how to apply
Puppet Warp to life, editable text.
| | 00:05 |
And the great thing about this is it
allows you to create a unique text effect
| | 00:07 |
that you really cannot pull off any other
way.
| | 00:10 |
And it will allow us to animate our text
as well.
| | 00:14 |
If you're working along with me scroll to
the top of the Layers panel and you'll
| | 00:16 |
find two layers that are turned off.
One is balloon which is a custom shape
| | 00:20 |
layer and the other is squawk which is a
layer of editable text, created in Myriad
| | 00:24 |
Pro Condensed.
I'm going to go ahead an zoom in on this
| | 00:28 |
text to 100% view size.
And what we want to do is create a few
| | 00:33 |
copies of the text object.
And I want it to ultimately animate so
| | 00:36 |
that its more or less fills up this talk
balloon.
| | 00:40 |
So I'm going to create a copy of the
layer by selecting it and then pressing
| | 00:43 |
Ctrl+J or Cmd+J on a Mac.
And just so we can see our various layers
| | 00:47 |
as we work on them.
I'm going to change the color of this top
| | 00:50 |
text layer to red.
So I'll go ahead and dial in the value, 0
| | 00:54 |
degrees for hue, a 100% for saturation,
and 100% for brightness as well.
| | 00:59 |
And then I'll press Alt+Backspace or
Option+Delete on a Mac to fill those
| | 01:02 |
letters with red.
Alright, now I'll go ahead and click on
| | 01:05 |
the text layer below which is still black
by the way.
| | 01:07 |
Now you can't apply Puppet Warp directly
to text.
| | 01:10 |
If you chose the command then Photoshop
is going to ask you if you want to
| | 01:12 |
rasterize the layer.
That's not what we want, so go ahead and
| | 01:16 |
Cancel that.
Instead, assuming you're armed with the
| | 01:19 |
Rectangular Marquee Tool, right-click
inside the image window and choose
| | 01:22 |
Convert to Smart Object.
And that way, we protect our editable
| | 01:26 |
text inside of a smart object, and we can
now apply Puppet Warp as much as we want.
| | 01:31 |
Then go out to the Edit menu and choose
the Puppet Warp command.
| | 01:35 |
And now notice if I click inside of the
A, one thing to note is that I'm working
| | 01:38 |
on the layer below, which is entirely
possible when you're either applying
| | 01:42 |
Puppet Warp for the first time or editing
a Puppet Warp effect.
| | 01:47 |
But here's what might surprise you, if I
drag this pin, I'm going to move the A
| | 01:50 |
independently of the other letters.
So when you apply Puppet Warp to text you
| | 01:55 |
warp one letter at a time.
I'll go ahead and press Ctrl+Z or Cmd+Z
| | 01:59 |
on the Mac to undo that change.
And now I'll set up a couple of pins down
| | 02:03 |
here at the bottom of the A as well.
And I'll drag the top pin upward and I
| | 02:08 |
might go ahead and click and Shift-click
on those bottom two pins and drag them
| | 02:12 |
downward to about here.
Now I'll create pins on the W and of
| | 02:17 |
course I'm going to create them at all
five of the W's corners.
| | 02:21 |
And then I'll go ahead and select the two
bottom pins here and I'll drag them down
| | 02:25 |
and I'll Shift-click on this pin to turn
it off.
| | 02:29 |
So that I can drag this guy upward a
little bit, because I want this kind of
| | 02:32 |
rounding effect around the letters.
These guys, I'll just drag independently
| | 02:36 |
upward, like so.
And remember that you can also nudge the
| | 02:39 |
selected pins from the keyboard.
By pressing either one of the arrow keys,
| | 02:43 |
or Shift Arrow for larger increments.
Now I'll create some points on a K, like
| | 02:48 |
this.
And I'll go ahead and drag this guy down,
| | 02:50 |
and I'll drag this one up.
And I'll drag both of these points
| | 02:54 |
outward as well, to more or less these
locations here.
| | 02:58 |
If you're not exactly following what I'm
doing that's totally okay.
| | 03:02 |
Just about any effect is going to work
here.
| | 03:04 |
Now, I'll create points at the top of the
U.
| | 03:06 |
When you're trying to protect a rounded
character, you need to add additional
| | 03:10 |
points, so I'm going to add three points
at the bottom, like so.
| | 03:13 |
And then I'll Shift-click on these two so
all three points are selected, and I'll
| | 03:17 |
go ahead and drag these points down to
about here.
| | 03:21 |
And then I'll drag this point
independently upward and I'll drag this
| | 03:24 |
point to this location.
The Q is the toughest one to keep from
| | 03:27 |
falling apart.
You need to create a total of seven
| | 03:30 |
points this time around, three around the
top, three around the bottom, and then
| | 03:34 |
one on the tail.
And now I'll go ahead and Shift-click on
| | 03:38 |
these points, so all four of the bottom
points are selected.
| | 03:42 |
And I'll drag them down to about here,
because I want the tail to hang off a
| | 03:45 |
little bit and that's a little too far to
the right it looks like to me, so I'll
| | 03:48 |
just nudge some points by pressing the
Left arrow key a few times.
| | 03:53 |
Then I'll grab these guys and drag them
up to about here.
| | 03:57 |
And now finally let's create some points
on the S.
| | 04:01 |
So we want to create four points in all.
I found works best anyway.
| | 04:04 |
And I'll go ahead and select both of
these top points and drag them to about
| | 04:07 |
here, Shift-click on this guy and drag
this point even farther up.
| | 04:12 |
And then I'll drag this point by itself
downward, and that looks pretty darn good
| | 04:16 |
to me.
Now I'll press the Enter key, or the
| | 04:19 |
Return key on the Mac, to accept that
change.
| | 04:21 |
All right, so we now have ourselves some
nicely warped text.
| | 04:25 |
I'm going to turn off the live text
layer, the red text there, and I'm
| | 04:28 |
going to right-click inside the filter
mask and choose delete filter mask to get
| | 04:31 |
rid of it.
Now we are working with live editable
| | 04:35 |
text, but we've got a whole massive pins
that are designed to accommodate specific
| | 04:39 |
letters so if I go and edit this text, it
might not end up looking this good.
| | 04:45 |
And just to give you a sense so you can
mitigate your expectation.
| | 04:49 |
I'll go ahead and quickly modify this
text.
| | 04:51 |
So, I'll go ahead and double-click on the
Smart Object thumbnail here inside the
| | 04:54 |
Layers panel.
If you end up getting this alert message,
| | 04:56 |
just go ahead and click OK.
Now, we're going to start off with a
| | 04:59 |
low-impact effect.
I'll press the T key to switch to the
| | 05:02 |
type tool, and then I'll go ahead and
select the Q.
| | 05:05 |
And replace it with an O.
After all, those are two pretty similar
| | 05:09 |
letter forms.
And then I'll press the Enter key on the
| | 05:12 |
numerical key pad in order to accept that
change.
| | 05:15 |
And then, I'll go ahead and close my
image and click the Yes button here on
| | 05:18 |
the PC, or the Save button on the Mac.
And you can see that everything survived
| | 05:22 |
pretty nicely.
That's not going to always be the case
| | 05:26 |
however.
If I double-click again on the thumbnail,
| | 05:29 |
and then click the OK button in order to
bring back my text.
| | 05:32 |
And I replace the W with say a C.
This is going to make a complete and
| | 05:37 |
total mess of things.
However, if I replace that w with
| | 05:40 |
something that's not too much smaller
than a w in the first place, such as,
| | 05:44 |
let's say, and m.
My message doesn't make any sense any
| | 05:48 |
more but it's going to survive a little
better.
| | 05:50 |
So now I'll go ahead and press the Enter
key on the numerical keypad again, and
| | 05:53 |
then I'll go ahead and close this image.
Click the Yes button on the PC or the
| | 05:58 |
Save button on the Mac, and now notice
that all of the letters survive except
| | 06:01 |
for the M, which is a complete and total
mess.
| | 06:04 |
And you can just imagine if you replaced
all the letters, then things would be
| | 06:08 |
very grim indeed.
So, just bear in mind that you have
| | 06:11 |
limited text editing abilities after
you've applied Puppet Warp.
| | 06:15 |
If I wanted to accommodate that M of
course, I'd just click on Puppet Warp.
| | 06:20 |
Remove the existing pins, and add new
ones.
| | 06:22 |
But in my case, I like the text as it
originally read, so I'll press
| | 06:26 |
Ctrl+Alt+Z, or Cmd+Option+Z on the Mac
like a couple of times in a row in order
| | 06:30 |
to restore squawk.
So for better or for worse, that's how
| | 06:36 |
you distort live text one letter at time
using Puppet Warp.
| | 06:41 |
| | Collapse this transcript |
| Creating an intermediate text frame| 00:00 |
In this movie, I'll show you how to
create an intermedia text layer that will
| | 00:03 |
allow us to animate the text.
I'm going to go ahead and turn on the top
| | 00:07 |
layer, the one that's red, and then with
the Smart Object version of the text
| | 00:11 |
selected, I'll press Ctrl J, or Cmd J on
a Mac, to create a copy of it.
| | 00:16 |
And then what you want to do, again if
you're working along with me, is select
| | 00:20 |
the bottom-most of the Squawk layers.
And, assuming that you have the Selection
| | 00:25 |
tool active, just press the 5 key to
reduce its Opacity value, here in the
| | 00:28 |
Layers panel to 50%.
Again, that will allow us to distinguish
| | 00:33 |
the text from the effect we're about to
create.
| | 00:36 |
Then switch to the middle of the Squawk
layers, and double-click on Puppet Warp,
| | 00:39 |
in order to re-enter the Puppet Warp
mode.
| | 00:42 |
And now, I'm just essentially going to
drag these pins to intermediate
| | 00:46 |
positions, as you see me doing here.
So the most important thing to keep in
| | 00:51 |
mind is that we need to be able to keep
each one of our text layers visually
| | 00:54 |
separated from each other, so that we can
see exactly what we're doing.
| | 01:00 |
So it's almost like we're engaging in
old-style cell animation, where you would
| | 01:03 |
lay one piece of acetate over another as
you were tracing your intermediate
| | 01:06 |
frames.
All right, I'll go ahead and take that
| | 01:10 |
guy to this position.
It really doesn't matter that much
| | 01:14 |
exactly where you put these pins, but if
anything, we want the text to look like
| | 01:17 |
it's kind of exploding.
So you probably want it to move a little
| | 01:22 |
less at first, that is to say from red to
black, than it does from black to gray.
| | 01:27 |
In that way, the letters will appear to
kind of explode there toward the end.
| | 01:32 |
All right, now I'll go ahead and select
all three of these pins right there and
| | 01:36 |
raise them to about that location, and
I'll select these three at the top of the
| | 01:41 |
queue and drag them down to about here.
Then I'll select all four of these pins
| | 01:47 |
by clicking and Shift clicking, and I'll
drag this guy up, like so.
| | 01:52 |
And this should be, well, this position
probably will work out for us.
| | 01:57 |
And then I'll go ahead and drag this guy
up to here, drag this one down to an
| | 02:00 |
intermediate sort of location for the
shoulder of the S there, and take this
| | 02:04 |
guy down to this position.
And now I'll press the Enter key, or the
| | 02:09 |
Return key on a Mac, in order to accept
that change.
| | 02:13 |
All right, now in order to effectively
animate this text, you're going to want
| | 02:17 |
to reset all the text to opaque black.
So I'll click on this bottom Squawk layer
| | 02:21 |
and press the 0 key to restore the
Opacity to 100%.
| | 02:25 |
And then I'll click on this top layer
right there, the Editable Text layer, and
| | 02:29 |
I'll press the D key to reinstate black
as my foreground color.
| | 02:33 |
In my case, that recolored the text
automatically.
| | 02:35 |
If that doesn't happen for you, then
after pressing D, you would press
| | 02:39 |
Alt+Backspace on the PC, or Option Delete
on a Mac.
| | 02:43 |
And now I'll go ahead and turn off these
top two layers, because we'll come back
| | 02:46 |
to them later.
All right, just to make things more
| | 02:49 |
interesting, I've taken the liberty of
adding one more layer of text, and that's
| | 02:52 |
this one here.
So, notice not only did I stretch the
| | 02:56 |
letters some more, but I went ahead and
added this shape layer, which is these
| | 02:59 |
black impact lines on the side, and I
distorted the balloon so that it looks
| | 03:02 |
like the text is pushing the balloon
outward.
| | 03:07 |
In any case, that's how you set up an
animated text effect using Puppet Warp.
| | 03:12 |
In the next movie, we'll begin to
actually put the animation in play.
| | 03:16 |
| | Collapse this transcript |
| Converting layers into animated frames| 00:00 |
In this movie, I'll show you how to
create an actual animation file with
| | 00:03 |
sequential frames that play on screen
inside Photoshop.
| | 00:07 |
But we have to work carefully, and the
reason is, because, when you're creating
| | 00:11 |
an animation file, you have to work
small.
| | 00:14 |
You don't want to be animating huge
images like this one, and that means we
| | 00:18 |
need to downsample, and the problem is
that the Puppet Warp effects applied to
| | 00:21 |
smart objects do not downsample reliably.
So, the first thing we need to do is
| | 00:27 |
rasterize all of our smart objects.
So go to the Layers panel, and notice
| | 00:31 |
this icon right there, Filter for smart
objects.
| | 00:35 |
If you click on it, you'll only see a
list of smart objects inside this image.
| | 00:39 |
The next thing you want to do is go up to
the Select menu and choose All Layers or
| | 00:43 |
press Ctrl+Alt+A or Command+Option+A on
the Mac.
| | 00:48 |
And because all we can see is Smart
Objects inside the Layers panel, that's
| | 00:51 |
all we select.
Then with the Rectangular Marquee Tool,
| | 00:54 |
right-click inside the image window and
choose Rasterize Smart Object.
| | 00:59 |
And that'll go ahead and convert all
those smart objects to static pixel-based
| | 01:02 |
layers.
And as a result, you will no longer see
| | 01:05 |
any smart objects inside the Layers
panel.
| | 01:07 |
So to bring back all your layers, you
just need to click on that smart objects
| | 01:10 |
icon again to turn it off.
Now, we need to downsample the image, so
| | 01:15 |
go up to the Image menu, and choose the
Image Size command, or press Ctrl+Alt+I
| | 01:18 |
or Command+Option+In the Mac.
And make sure all three checkboxes are
| | 01:23 |
selected down here, Scale Styles,
Constrain Proportions, and Resample
| | 01:27 |
Image, and you want your interpolation to
be set to Bicubic, best for smooth
| | 01:31 |
gradients.
That's going to give you by far the best
| | 01:34 |
results here.
Then change the width value to 1080
| | 01:37 |
pixels, and that'll change the height
value automatically to 720 pixels, and
| | 01:41 |
then, click OK.
And now, thanks to the fact we're working
| | 01:46 |
exclusively with pixel-based layers,
along with a few shape layers and a text
| | 01:49 |
layer, everything downsamples just fine.
Alright, now I'm going to go ahead and
| | 01:54 |
zoom it.
Now, in order to convert our layers into
| | 01:57 |
animated frames, we need to bring up the
Timeline panel.
| | 02:00 |
Either by clicking on the word Timeline
down here in the lower left corner of the
| | 02:04 |
screen or you can go up to the Window
menu and choose timeline instead.
| | 02:09 |
Then, you'll see this little button right
here in the middle.
| | 02:12 |
Now, by default, it's set to create video
timeline.
| | 02:16 |
You want to click on this down pointing
arrowhead and change it to create frame
| | 02:19 |
animation.
And then, click on that button in order
| | 02:22 |
to create a single frame that, of course,
is not what we want, we want to convert
| | 02:25 |
the layers to frame.
So, go ahead and click on this Layout
| | 02:29 |
menu icon and the first thing I'mgonna do
is choose Panel options, because I
| | 02:32 |
want to make sure that my thumbnails are
as big as possible, so go ahead and
| | 02:35 |
select that final item so you can see
what your doing and then click OK.
| | 02:41 |
And then, click on that flyout menu icon
again and choose Make Frames From Layers
| | 02:45 |
and that's going to go ahead and create a
frame for every single layer in the
| | 02:48 |
image.
Now, we don't need frames for every
| | 02:52 |
layer, because after all, this is just a
background for all the frames, so to get
| | 02:56 |
rid of the first frame here.
Go ahead and drop down to the little
| | 03:00 |
trash icon, located at the bottom of the
timeline panel and Alt Click on it or
| | 03:04 |
Option Click on it on the Mac.
The reason we're Alt or Option clicking
| | 03:09 |
is so we don't get an alert message.
Then scroll all the way over to the right
| | 03:13 |
hand side.
And you'll see a bunch of frames for your
| | 03:16 |
shape and text layers.
Go ahead and click on frame 20, and Shift
| | 03:19 |
click on frame 26, you should get exactly
the same results I'm getting here.
| | 03:24 |
And then, once again, Alt click or Option
click on that Trash Can icon in order to
| | 03:28 |
get rid of them.
At this point, you should now have 19
| | 03:32 |
frames left.
Click on the Flyout Menu icon once again,
| | 03:35 |
and choose Select All Frames.
And then, dropdown to the bottom of the
| | 03:39 |
Layers panel, and turn on the background,
so that we can see the sky in back of the
| | 03:43 |
bird.
All right, now for a few tweaks.
| | 03:47 |
I want the first and last frames to have
a slight delay associated with them.
| | 03:51 |
So click on 0 sec, down here in the
bottom right corner of any one of the
| | 03:54 |
selected frames.
And choose 0.1 seconds, and that way, the
| | 03:59 |
frames will hang for just a moment for 1
10th of a second.
| | 04:03 |
Then, click on frame 18 because 19 is the
last one.
| | 04:06 |
Go ahead and scroll all the way over to
the left-hand side and Shift-click on
| | 04:10 |
frame 2.
So all but the first and last frames are
| | 04:14 |
selected.
We don't want these frames to have any
| | 04:16 |
delay, so click on the 0.1 second in the
lower right corner of any one of the
| | 04:20 |
selected frames and choose no delay, and
that way, they'll play continuously .
| | 04:27 |
All right, now we want to copy these
guys.
| | 04:28 |
Notice that they represent, if I go ahead
and click the Play Animation button here,
| | 04:32 |
down at the bottom of the Timeline panel,
you can see that the animation that we
| | 04:35 |
have, well, in my case it was very brief,
because I had the next to last frame
| | 04:39 |
selected.
I'll go ahead and click on the first
| | 04:43 |
frame in the Timeline, and then click on
the Play Button again.
| | 04:46 |
And you can see, all we've got is the
wings going down.
| | 04:49 |
We also need the wings to come up.
So select those intermediate frames once
| | 04:53 |
again.
18, all the way back through 2.
| | 04:57 |
So click on 1 and Shift+click on the
other.
| | 05:00 |
We want everything, but frames 1 and 19
selected.
| | 05:04 |
And then, click on the flyout menu icon
to bring up the menu and choose Copy
| | 05:07 |
Frames.
Then, you want to scroll all the way to
| | 05:10 |
the right-hand side again.
Seems like we're doing a lot of scrolling
| | 05:13 |
here.
Click on frame 19 to make it active.
| | 05:16 |
Click on the flyout Menu icon, and choose
Paste Frames in order to paste those
| | 05:20 |
frames at the end of the animation and
make sure that Pace Method is set to
| | 05:23 |
Paced After Selection, as it is by
default, and click OK.
| | 05:29 |
Now, finally, what we want to do is
scroll over to the right again.
| | 05:32 |
Now, we should have some new frames, 20
through 36, and they should all be
| | 05:35 |
selected to reverse their order, so that
the wings now go down, click on the
| | 05:38 |
Flyout menu icon and choose Reverse
Frames.
| | 05:43 |
And that will now play them in the
opposite order.
| | 05:46 |
Now, to see what we've done here, go
ahead and scroll all the way to the
| | 05:48 |
beginning of the movie.
Click on the first frame.
| | 05:51 |
Click on Once, down here in the lower
left corner of the screen.
| | 05:55 |
That means, by the way, that we're just
going to play the animation once on
| | 05:58 |
screen.
We want it to loop, so go ahead and click
| | 06:01 |
on Once and choose Forever in order to
watch the animation play over and over
| | 06:04 |
again.
And then, you can either click on this
| | 06:08 |
little Play button down here in order to
play the animation or you can just press
| | 06:11 |
the Spacebar in order to watch that
animation play.
| | 06:15 |
And we have now managed to make our bird
fly.
| | 06:18 |
Now, I'm going to go ahead and press the
Escape key in order to stop the
| | 06:20 |
animation.
At this point, what you would do, if you
| | 06:23 |
were working without me, is you would go
up to the File menu and choose Save As.
| | 06:27 |
Don't save over your original file or
you'll lose all those Smart Objects and
| | 06:30 |
all those Puppet Warp settings, and the
whole shebang, and you don't want that.
| | 06:35 |
So you choose Save As, and then, save
this image as a native PSD document for
| | 06:39 |
now.
Later, I'll show you how to export it as
| | 06:43 |
a QuickTime movie or an animated GF file.
Meanwhile, in the next movie, I'll show
| | 06:48 |
you how to animate the text.
| | 06:50 |
| | Collapse this transcript |
| Tweening and animating text| 00:00 |
In this movie, I'll show you how to
animate the text.
| | 00:02 |
And we'll also take advantage of
tweening, that is tweening, which allows
| | 00:07 |
you to automate effects between two key
frames.
| | 00:11 |
So I'm going to start off here by
clicking on Frame 5 inside the timeline.
| | 00:16 |
And then, I'm going to scroll my way over
here and shift click on frame 16.
| | 00:21 |
It's going to be the easiest way to make
this happen.
| | 00:23 |
And these are the frames that will
contain the standard balloon.
| | 00:27 |
So go ahead and scroll to the top of the
layers panel and turn on that balloon
| | 00:30 |
layer so that your seeing the undistorted
top balloon.
| | 00:34 |
And then you want to turn on the very top
squawk layer the one that's an actual
| | 00:38 |
text layer.
Now click on frame 15 in order to select
| | 00:41 |
it.
Turn off that text layer and turn on the
| | 00:44 |
layer directly below it, the one that's
starting to expand, then click on frame
| | 00:49 |
16.
Turn off that text layer at the top and
| | 00:52 |
click on a layer that's too blow it that
represents the even larger version of the
| | 00:56 |
distorted text.
Now go ahead and scroll further to the
| | 01:00 |
right and click on frame 17 and shift
click on frame 19 and notice 19 is the
| | 01:04 |
one that has a slight delay associated
with it.
| | 01:09 |
So my reasoning is things should stay the
same between these frames and that's when
| | 01:13 |
we see the biggest text.
My other reasoning was that we want the
| | 01:17 |
time to read the text, that's very
important of course and the bird should
| | 01:21 |
squat during the down beat of its wings.
And then the text should fade away, when
| | 01:27 |
he raises his wings.
So, those were just some creative
| | 01:30 |
decisions I made.
Anyway, 17 through 19, make sure they're
| | 01:33 |
selected, and then scroll down the list,
until you can see the distorted balloon.
| | 01:37 |
You want to turn that on, turn on the
impact layer, and also turn on the highly
| | 01:41 |
distorted version of the SquawkText in
order to produce this effect right here.
| | 01:47 |
Now we want to fade this text out, and
the easiest way to do that is to take
| | 01:50 |
advantage of tweening.
So I'll go ahead and click on frame 24
| | 01:54 |
here, in order to select it, so it's
several frames ahead as you can see, and
| | 01:58 |
then I'll turn those three layers back
on.
| | 02:02 |
Same three layers as before.
Click on Squawk at the top, shift click
| | 02:05 |
on balloon, so these are the squawk and
balloon layers that surround the impact
| | 02:08 |
layer.
And then you want to change the opacity
| | 02:11 |
to 0%, which you can do by selecting the
value or you can type 0, 0 two times in a
| | 02:15 |
row on the keyboard.
Alright now we've got a transparent
| | 02:20 |
version of those same layers, now what
you want to do is click on frame 19 and
| | 02:24 |
shift click on frame 24, this is where
the fade needs to occur.
| | 02:28 |
We've got two ways to tween.
One is to tween everything, and the other
| | 02:33 |
is to tween discreetly.
If you want to tween everything you just
| | 02:37 |
drop down to this little icon that says
tweens animation frames and go ahead and
| | 02:40 |
click on it.
But as you'll see here that makes a fair
| | 02:43 |
mess of the other frames.
So here's frame twenty.
| | 02:47 |
Here's frame 21.
We're basically building up various
| | 02:50 |
opacity levels associated with the bird.
And that is not what we want.
| | 02:54 |
And we're losing the flapping effect by
the way as well.
| | 02:57 |
So we're just fading the bird across
these frames.
| | 03:00 |
Obviously that's not what you want to do.
Go up to the Edit Menu.
| | 03:03 |
The Undo Command is now Dimmed.
Just go ahead and choose step backward,
| | 03:07 |
or you can press Control, Alt, Z or
command options Z on a Mac to undo that
| | 03:10 |
effect, click on Frame 19 and shift-click
on Frame 24 once again, then click on the
| | 03:14 |
fly out menu icon And choose the tween
command.
| | 03:20 |
Now we've gotta modify some settings
here.
| | 03:22 |
Notice tween width is set to selection.
That is the selected frames, which is
| | 03:26 |
exactly what we want.
However layers is set to all layers.
| | 03:30 |
That's not what we want.
We want selected layers, the selected
| | 03:32 |
layers here inside the layers panel.
We also have three parameters to choose
| | 03:36 |
from.
Position is useful if you have a layer
| | 03:39 |
that's in motion, that is, its actual
physical x, y coordinates change over
| | 03:43 |
time.
That's not the case for us.
| | 03:46 |
We did all of our animation using layers
so you can go ahead and turn position
| | 03:48 |
off.
Effects means layer effects.
| | 03:51 |
We don't have any of those, either, so go
ahead and turn that off.
| | 03:54 |
All we want is Opacity.
Notice what's missing here.
| | 03:57 |
Scale and Rotate and Puppet Warp are not
parameters that you can tween
| | 04:01 |
automatically, but Opacity is, so that's
great.
| | 04:04 |
Now go ahead and click Okay in order to
create the tween frames.
| | 04:08 |
And now, if you click on Frame 19, you'll
see you've got opaque text, in frame 20
| | 04:12 |
it's a little bit translucent, in frame
21, more translucent still, 22, 23, and
| | 04:17 |
then finally it just completely
disappears in frame 24.
| | 04:23 |
That's a little bit much for my taste,
and the problem is that Photoshop is
| | 04:26 |
performing a linear tween.
In other words, we're going from 100%
| | 04:31 |
opacity down to 80 and then 60 and then
40 and then 20 and then nothing.
| | 04:38 |
What we need is a little bit extra here
in Frame 24, so what I recommend you do
| | 04:41 |
is click on Frame 24.
Your Layers should still be selected, and
| | 04:44 |
just go ahead and press the 1 key In
order to increase the opacity to 10% like
| | 04:48 |
that.
And now, to get a sense of what we've
| | 04:51 |
been able to accomplish here, you can
press the Space Bar in order to play the
| | 04:53 |
animation.
And you'll see squawk appear above the
| | 04:57 |
bird's head, long enough to read it, and
then it'll blow up and fade away.
| | 05:01 |
And that, folks, is at least one way to
animate type, and tween between frames
| | 05:07 |
here inside Photoshop.
| | 05:10 |
| | Collapse this transcript |
| Exporting a QuickTime movie and GIF animation| 00:00 |
In this movie I'll show you how to save
off your animation as both a Quicktime
| | 00:04 |
movie and as an animated JIF file.
But first we've got a flaw that we need
| | 00:08 |
to fix.
Notice if I press this space bar, in
| | 00:11 |
order to play the animation, right after
the squawk starts fading here, his wings
| | 00:15 |
slow down just a little bit.
We have a little bit of hesitation going
| | 00:19 |
on.
And that's because in tweening those
| | 00:22 |
frames, I introduced a little bit of a
delay as well.
| | 00:25 |
So, I'll press the Escape key in order to
stop the playback, and I'll go ahead and
| | 00:29 |
scroll over here to frames 20 through 23,
and notice in addition to 19, which is
| | 00:33 |
the spot at which his wings are lowest,
we've got 1 tenth of a second delays on
| | 00:37 |
frames 20 through 23 as well.
So go ahead and select those frames, and
| | 00:44 |
then click in the bottom right corner of
any of the selected frames, and choose No
| | 00:48 |
Delay in order to get rid of that.
And now when we play back the animation,
| | 00:53 |
we shouldn't see that little bit of a
hitch associated with the flapping of the
| | 00:56 |
wings.
Alright.
| | 00:58 |
I'll go ahead and stop the playback.
And now, let's Export our animation as a
| | 01:01 |
Quicktime movie, by going up to the File
menu, choosing Export and choosing Render
| | 01:05 |
Video, and you want to make sure that
this Option right here is set to Adobe
| | 01:09 |
Media Encoder.
If you switch it over to Photoshop Image
| | 01:14 |
Sequence, you'll create a sequence of
JPEG files, which you can play in
| | 01:17 |
QuicktimePro and some other applications
out there, but that's going to generate a
| | 01:20 |
bunch of independent JPEG files, not a
movie.
| | 01:24 |
So select the Media Encoder and the
format we're going to use is QuickTime.
| | 01:28 |
You can go with H.264 if you want to
create an MP4 file, and you can go with
| | 01:31 |
DPX as well, but that's more of a high
end film standard, so it's unlikely
| | 01:34 |
you're going to want that.
Anyway, I'll switch to QuickTime.
| | 01:39 |
And we want the preset to be Animation
High Quality, might as well make it look
| | 01:42 |
good.
And then the size should be Document
| | 01:45 |
size, which we already established a
couple of movies ago to be 1080 by 720.
| | 01:50 |
The Frame Rate should be 30 frames per
second, that's fine.
| | 01:53 |
The Preset is Progressive, the Aspect
Ratio should be Square, by the way, or
| | 01:57 |
document, as long as it says 1.0 we're
fine.
| | 02:00 |
And you want to turn on the Color Manage
Check Box, and you want to go ahead and
| | 02:04 |
output all the frames, and the other
defaults settings are fine as well.
| | 02:08 |
I'm going to replace the name of this
movie with something I copied to the
| | 02:11 |
clipboard, watchthebirdfly.mov.
And then you want to click on the Render
| | 02:15 |
button, now I've already created this
movie in advance for you, those of you
| | 02:19 |
who have access to the exercise files.
But I just wanted to show you how it was
| | 02:23 |
created so there's no doubts.
And, if you're doing this along with me,
| | 02:27 |
you're going to have to wait a moment for
the progress bar to go by.
| | 02:29 |
Now to view the movie, go up to the File
menu and choose Browse in Bridge.
| | 02:34 |
Or press Ctrl+Alt+O or Cmd+Option+O on
the Mac to switch to Bridge, and then
| | 02:37 |
locate the folder that contains the file
and go ahead and double-click on it.
| | 02:42 |
And assuming that you have Quicktime
installed on your machine, which I do,
| | 02:45 |
and if you don't, it's a free
installation, just look it up online,
| | 02:48 |
then you want to go to the View menu and
choose the Loop command, which has a
| | 02:51 |
keyboard shortcut of Ctrl+L, or Cmd L on
the Mac.
| | 02:56 |
And then, return to the View menu, and
choose Full-Screen, or press Ctrl+F, or
| | 03:00 |
Cmd F on the Mac, and you'll see your
movie play nice and large on-screen.
| | 03:06 |
So, that's one way to work, but what if
you want to create an animated GIF file
| | 03:10 |
instead, for example for a web page.
Well then what you do, we'll go ahead and
| | 03:14 |
press the space bar in order to stop the
movie from playing.
| | 03:17 |
And I'll press the Escape key as well so
that I can return to Bridge.
| | 03:21 |
And then I'll click on the little
Boomerang icon to return to Photoshop.
| | 03:25 |
If you want to save an animated GIF file,
go up to the File menu and choose Save
| | 03:29 |
For Web, and then inside the big old save
for web window here, and this is going to
| | 03:32 |
take a few moments in order to come up on
screen, you want to scroll your image
| | 03:36 |
over if your viewing the two up display,
or just switch to the Optimize tab so you
| | 03:40 |
can see the big horizontal bird here.
And I recommend right away that you take
| | 03:48 |
the Image size down, the Width value down
to 720, which is what the Height value
| | 03:51 |
used to be, and that will automatically
take the Height value down to 480 pixels.
| | 03:58 |
That'll also take the percent value down
to 66 and 2/3rds, then you want to switch
| | 04:01 |
from JPEG to GIF in order to save add a
GIF file, because you can't animate a
| | 04:05 |
JPEG.
Now, this is going to look pretty bad,
| | 04:09 |
I'll go ahead and scroll in here.
And even if you have your Color set to
| | 04:12 |
256, you're going to get a bunch of
banding, and here's how to get rid of
| | 04:15 |
that.
First of all I recommend because we're
| | 04:18 |
more interested in the colors of the
background, that is avoiding the banding
| | 04:21 |
in the background, than we are the actual
colors inside the image, switch from
| | 04:24 |
Selective to Perceptual, and that'll go
ahead and generate a new Color Table down
| | 04:28 |
here.
Now that's not going to make a huge
| | 04:32 |
difference right away.
Most likely your Dither Pattern will be
| | 04:35 |
set to Diffusion, which is good for this
purpose, not great, but good.
| | 04:40 |
But you'll want to take the Dither Value
up to 100%, so that you're applying as
| | 04:43 |
much of a dither pattern as possible.
And now we'll go ahead and randomize the
| | 04:47 |
pixels a little bit, so that we have less
banding.
| | 04:50 |
But you're going to get even less banding
if you switch from Diffusion to Noise,
| | 04:54 |
where again this image is concerned.
And that goes for most continuous tone
| | 04:59 |
images as well.
Notice that, we pretty much don't have
| | 05:01 |
those bands of color all anymore.
Now we don't need transparency, so you
| | 05:05 |
can go ahead and turn the transparency
check box Off.
| | 05:09 |
And all these options, end up invoking
delays by the way.
| | 05:12 |
And now let's go ahead and Zoom out here,
by pressing Ctrl- or Cmd- on the Mac.
| | 05:16 |
Notice these play controls, allow you to
play the animation directly inside of the
| | 05:20 |
Save For Web Dialogue box.
But here's the thing to bear in mind;
| | 05:25 |
very, very unlikely that when it's
actually played on a website that it's
| | 05:28 |
going to play this quickly, because most
browsers have a habit, if not told
| | 05:32 |
otherwise, to play just 10 frames per
second.
| | 05:37 |
And that's because JIF files don't
specify a frame rate like a QuickTime
| | 05:40 |
movie does.
Instead, the browser makes an assumption
| | 05:43 |
about how long each frame should remain
on screen, before it draws the next one,
| | 05:47 |
and typically that's ten one hundredths
of a second, or, one-tenth of a second.
| | 05:54 |
In any case, I just wanted to warn you
about that, because as soon as we preview
| | 05:56 |
the effect, inside of a browser it's
going to look different.
| | 05:59 |
All right, so I'll go ahead and click the
Stop Button there.
| | 06:02 |
And then, to preview the effect in a
browser, what you want to do is click
| | 06:04 |
this Down-Pointing Arrowhead.
Next to your Browser icon, and then go
| | 06:08 |
ahead and choose Edit List, just in case
you haven't ever done this before.
| | 06:12 |
And that'll bring up this Dialogue box,
that asks you to go find your Browser
| | 06:16 |
applications, which is almost impossible
on a PC.
| | 06:20 |
So instead what you do, is you just click
on Find All, and let Photoshop do the
| | 06:23 |
work for you.
Then click OK.
| | 06:27 |
In my case, I'll just cancel out, because
I've already done it.
| | 06:29 |
Go ahead and select the browser you want
to use.
| | 06:31 |
In my, case I'll use Firefox.
Anything but Internet Explorer, after
| | 06:35 |
all.
And then you may need to click on the
| | 06:37 |
Preview button in order to switch over to
the Browser.
| | 06:40 |
And then notice how much slower this
animation is playing inside Firefox.
| | 06:45 |
And chances are good that it's going to
play this slowly in just about any web
| | 06:48 |
browser.
But that's OK, because in our case the
| | 06:51 |
falcon's just taking its time.
And that friends, is how you export your
| | 06:55 |
Photoshop animation either as a QuickTime
movie, or as an animated JIF file.
| | 07:02 |
| | Collapse this transcript |
|
|
39. Editing VideoWhy edit video in Photoshop?| 00:00 |
The topic of this chapter is Video
Editing, which I know sounds absurd.
| | 00:05 |
Who in the world would edit video inside
Photoshop?
| | 00:08 |
And the answer is you, especially if you
shoot movies with a DSLR, it's just the
| | 00:12 |
thing.
Now, it's not a pro-level video editor by
| | 00:15 |
any stretch of the imagination, but it is
great.
| | 00:18 |
You can lay down an sequence clips, you
can add transitions, you can add text
| | 00:22 |
overlays, adjustment layers.
You can even put a movie inside of a
| | 00:26 |
smart object and filter the entire thing,
and I've really gone over board on the
| | 00:30 |
project, for this one, its really cool.
Spend a lot of time on it and it even
| | 00:35 |
includes voice overs, that sounds like
the master control program from the
| | 00:39 |
original Tron.
So you have that to look forward to,
| | 00:43 |
starting in the next movie.
| | 00:46 |
| | Collapse this transcript |
| Loading video clips into Photoshop| 00:00 |
In this movie I'll show you what I
consider to be the easiest way to bring
| | 00:03 |
video clips into Photoshop.
And I'll also show you how to sequence
| | 00:07 |
your clips and adjust their duration.
For starters, make you don't have
| | 00:11 |
anything open inside Photoshop.
Then bring up the Timeline panel, either
| | 00:15 |
by going to the Window Menu and choosing
the Timeline command, or you can just
| | 00:18 |
click on the Timeline tab in the bottom
left corner of the screen.
| | 00:22 |
Now notice that, unlike in a previous
chapter, because we don't have anything
| | 00:25 |
open, Photoshop doesn't ask us if we want
to create an animation or a video.
| | 00:30 |
It just assumes that you want to start
adding video clips.in which case click on
| | 00:33 |
the Plus sign, on the far right side of
the panel, to bring up the Add Clip style
| | 00:37 |
log box.
If you're working along with me navigate
| | 00:41 |
your way to the Media File sub folder
inside the 39 video folder.
| | 00:45 |
And if you're working on a PC, make sure
files of type is set to all formats,
| | 00:49 |
which you'll find at the bottom of the
pop-up menu.
| | 00:53 |
In which case you'll see a series of
movies, all from the Fotolia image
| | 00:56 |
library, by the way, about which you can
learn more at fotolia.com/deke Right now
| | 01:00 |
I want to add the first four movies,
we'll come back to the Win movie, later
| | 01:03 |
in this chapter, and you do that by
clicking on Fotolia error, dot MOV, and
| | 01:06 |
then Shift clicking on Fotolia water, and
that will select that range of files.
| | 01:13 |
And then click on the open button to add
all four video clips to the timeline.
| | 01:18 |
Notice that those clips also appear here
inside the Layers panel, because there's
| | 01:22 |
always a direct relationship between the
Timeline panel and the Layers panel.
| | 01:27 |
And these objects are identified as movie
clips by these little film strip icons in
| | 01:31 |
the bottom right corner of the
thumbnails.
| | 01:34 |
All the clips are automatically added to
a single video group.
| | 01:37 |
And you can change its name not by double
clicking on it here inside the timeline
| | 01:41 |
panel.
But rather by double clicking on it here
| | 01:44 |
inside the layers panel.
And I'll just go ahead and call these
| | 01:48 |
guys movies, because this is the only
video group we're going to be creating.
| | 01:51 |
Also notice that the order of the movies
from Fotolia air first to Fotolia water
| | 01:56 |
last.
Is in the same order, albeit starting at
| | 02:00 |
the bottom and going up, as the movies
appear inside the Layers panel.
| | 02:04 |
I want to make a movie about the four
traditional elements: earth, air, fire,
| | 02:08 |
and water, which means that I need earth
to appear first, not second.
| | 02:14 |
And the easiest way to make that happen
is to just drag the earth layer below the
| | 02:17 |
air layer here inside the Layers panel.
However, if you do that, if you drag the
| | 02:22 |
object outside of the group, then you're
going to run into problems, because
| | 02:25 |
what's going to happen here, is Photoshop
is going to automatically make a new
| | 02:28 |
track here inside the timeline panel,
which I don't want.
| | 02:33 |
So I'm going to press Ctrl Z or Cmd Z on
the Mac to undo that mistake, and I'll
| | 02:36 |
try out the safer approach, which is to
drag air above earth.
| | 02:41 |
Like so.
Now notice that the earth clip appears
| | 02:44 |
first, then the air clip, followed by
fire and water, which is exactly what I
| | 02:48 |
want.
All right, now to make some adjustments
| | 02:51 |
to our clips.
All of these clips are designed to be
| | 02:54 |
curtailed to whatever duration that we
like, whatever length, in other words.
| | 02:59 |
And they're all silent movies as well.
However I do want to show you a trick
| | 03:03 |
here.
If you don't like the audio that's
| | 03:05 |
associated with your movie.
Just go ahead and click on this little
| | 03:08 |
right pointy arrowhead in the top right
corner of the clip.
| | 03:11 |
And switch to the audio tab and then you
can turn on mute audio.
| | 03:14 |
Or you can create phase as you can see
here as well as adjust the volume.
| | 03:19 |
Anyway I'm going to press the escape key
because that's not what I want to do.
| | 03:22 |
What I want to do is change the length of
my clip, and I'm probably going to find
| | 03:25 |
that easier to pull off if I go ahead and
zoom in.
| | 03:28 |
So I'll go ahead and click on this little
mountain icon right there, in order to
| | 03:32 |
zoom in on the timeline.
And I want this first clip to last for
| | 03:35 |
nine seconds.
One way to do that is to move your cursor
| | 03:38 |
over the end point here.
And make sure that it looks like a couple
| | 03:42 |
of arrows set inside of a right bracket,
as opposed to one set inside of a left
| | 03:45 |
bracket, because we want to change the
right side of this clip.
| | 03:50 |
That is, we want to drag it inward.
And you can do so by dragging like so.
| | 03:54 |
And as you drag, you'll see, not only the
end point listed in the upper left hand
| | 03:58 |
corner of that preview, but also a
duration.
| | 04:02 |
And we want the duration to be a total of
nine seconds.
| | 04:04 |
So as soon as you see 09:00, just go
ahead and release.
| | 04:10 |
And notice that not only changes the
length of this movie, but also goes ahead
| | 04:13 |
and tucks in the next movie so that
there's no seam between them.
| | 04:18 |
Alright, now let's go ahead and scroll
over a little bit.
| | 04:21 |
The air movie is way too long.
I just want it to be 5 seconds.
| | 04:25 |
And another way to pull that off is to
click on this Right Pointing Arrowhead
| | 04:28 |
once again, and then change the Duration
Value.
| | 04:31 |
And all you have to do is dial in 5, you
don't have to enter the s, and then press
| | 04:34 |
the Tab key, and notice that the change
immediately takes place.
| | 04:39 |
Yet another way to work, if I want
Fotolia_fire to be five seconds long,
| | 04:42 |
then I could go ahead and click up here
where it tells me the time codes, click
| | 04:45 |
to move this blue Playhead to that
location.
| | 04:50 |
Now I want to drag the play head over
from 1 seconds over to 19 seconds, and I
| | 04:54 |
can just keep an eye on this value down
here in the lower left corner of the
| | 04:57 |
screen and as soon as I hit 19 colon 00
and I know I have found the right point,
| | 05:01 |
and I can now go ahead and scroll over to
the right a little bit, grab that right
| | 05:05 |
edge and then snap it into alignment...
So things are always snapping into the
| | 05:14 |
play head inside the timeline panel and
finally an even easier solution if you
| | 05:18 |
don't want to scroll all the way over and
try to figure out where this ray pointing
| | 05:22 |
row head is, just make sure that you can
see any portion of the clip and right
| | 05:25 |
click inside of it and you get that same
panel.
| | 05:31 |
And in this case, I'm going to change the
water clip to five seconds as well, and
| | 05:34 |
then press the Enter key or the Return
key on the Mac, in order to implement
| | 05:37 |
that change.
And now, if you drag the playhead around,
| | 05:41 |
you can see that one clip goes ahead and
automatically transitions into another,
| | 05:46 |
albeit is a hard cut point.
So that's how you load video clips in the
| | 05:52 |
Photoshop, as well as sequence them and
adjust their duration.
| | 05:57 |
In the next movie, I'll show you how to
create gradual transitions between one
| | 06:01 |
video clip and another.
| | 06:04 |
| | Collapse this transcript |
| Creating gradually fading transitions| 00:00 |
In this movie, I'll show you how to add
gradually fading transitions, between
| | 00:04 |
video clips, and anything else that you
add to your composition here inside
| | 00:08 |
Photoshop.
Now we happen to have a total of four
| | 00:12 |
video clips that are arranged inside of a
single track, which means that we want to
| | 00:16 |
add whats known as Cross Fades.
And you create a Cross Fade by clicking
| | 00:21 |
on this Transition icon, located right
next door to the Scissors, and then you
| | 00:25 |
select Cross Fade from the list and dial
in a duration.
| | 00:30 |
Which is one second by default, and
that's just fine by me.
| | 00:33 |
To apply the Cross Fade, go ahead and
drag it and drop it on to the scene
| | 00:37 |
between two video clips.
And that'll tuck one of the video clips
| | 00:41 |
into the other.
And let me show you what I mean by that.
| | 00:44 |
I'll go ahead and zoom in a little bit
here by clicking in that mountain icon.
| | 00:47 |
And then, I'll select that first earth
clip, and notice that it is still nine
| | 00:51 |
seconds long.
We can see that it goes to this midpoint
| | 00:55 |
between eight and 10 seconds.
And then the air-clip remains five
| | 01:00 |
seconds long it goes from now eight to 13
seconds.
| | 01:03 |
And then we've got this one second right
here, where the two clips overlap, and
| | 01:07 |
the cross phase is showing as two
overlapping triangles.
| | 01:12 |
Alright, now we need to duplicate that
Cross Fade onto the next seam here, and
| | 01:15 |
you do that by just reapplying it.
So, bring up the Transition Panel, drag
| | 01:20 |
Cross Fade, and drop it onto the seam
between those two movies, and that'll go
| | 01:23 |
ahead and tuck Fire into Air as we're
seeing here.
| | 01:28 |
And, you can really see the tuck happen
at the end of the movie.
| | 01:31 |
So notice that the movie ends at 22
seconds long.
| | 01:35 |
As soon as I add a cross fade by dragging
it and dropping it onto the scene between
| | 01:39 |
the fire and water clips, that tucks the
water in a second, and as a result our
| | 01:43 |
movie is now 21 seconds long.
Alright, now I want to create a layer of
| | 01:48 |
black, and the reason is that eventually
I want to create my initial titles
| | 01:52 |
against the black background.
And then fade in to this earth clip, and
| | 01:56 |
then fade of course, throughout the
clips, and then have water fade back to
| | 02:00 |
black at the end.
Now, you do have the option of adding a
| | 02:04 |
Fade with Black or a Fade with White, or
even a Fade with Color Transition.
| | 02:10 |
However, you're going to get more
flexible results if you just fade to a
| | 02:13 |
black background, and then you can decide
how long that blackness is going to last,
| | 02:16 |
and it's just as easy to pull off, and
here's how.
| | 02:20 |
Go ahead and click on the Movies group,
here inside the Layers panel, then press
| | 02:23 |
and hold the Alt key, or the Options key
on the Mac, click the Black White icon at
| | 02:27 |
the bottom of the panel, and choose Solid
Color.
| | 02:30 |
And because you pressed Alt or Option,
that brings up the new layer dialogue box
| | 02:34 |
so we can name the layer, and I'll go
ahead and call mine black, and then click
| | 02:37 |
okay.
Inside the color picker, make sure that
| | 02:40 |
the color actually is black, and then
click OK to create that layer.
| | 02:44 |
Now notice that this new layer is
automatically added to the Timeline
| | 02:48 |
Panel, and it comes in as purple.
So, the idea here is anything blue is the
| | 02:52 |
video clip, anything purple is not.
It's some other kind of Photoshop layer.
| | 02:58 |
Also notice that it automatically got
added to the same track, which is not
| | 03:01 |
what we want at all.
We want this layer of black to located on
| | 03:05 |
an independent track.
And to make that happen, move it out of
| | 03:08 |
the movie scoop, by dragging this black
layer all the way down to the bottom of
| | 03:12 |
the Layers panel, beyond the edge of the
group, and then dropping it outside the
| | 03:15 |
group like so.
And that will go ahead and create a new
| | 03:20 |
track, called black, that contains just
this one black object.
| | 03:25 |
All right, now I want to make this thing
last the entire length of the movie.
| | 03:28 |
Unfortunately, you can't right click
inside the object to choose a duration.
| | 03:33 |
Instead, the easiest thing to do is to
zoom out so that you can see the entire
| | 03:36 |
timeline, and then drag the left edge all
the way to zero.
| | 03:41 |
And now, I want to drag the right edge
all the way to 36.
| | 03:45 |
So I'll just go ahead and drag in till I
see 36, like so, and then I'll release.
| | 03:51 |
And now I want to move the other clips
inside of this series.
| | 03:54 |
So I'll zoom back in a little bit here.
And I'll click on the earth clip, and
| | 03:58 |
then shift click on the water clip, in
order to select this entire range of
| | 04:01 |
layers.
So you can track exactly what's selected
| | 04:05 |
at any given time, inside the Layers
panel.
| | 04:08 |
And then, I'll go ahead and move my Play
Head to exactly six seconds, and another
| | 04:12 |
way to do that besides dragging is to
right click on the Play Head and choose
| | 04:15 |
Go To Time, and then you can just dial in
six seconds like so and click OK, and
| | 04:19 |
that will move that play head to exactly
the right location.
| | 04:26 |
And now we can drag all of these clips
together, and have them snap into place
| | 04:30 |
at that position.
All right, now I'm going to go ahead and
| | 04:34 |
Zoom in on the play head a little bit.
And, I want to create a transition from
| | 04:38 |
black, notice right now we go from
absolute black right into the video, I
| | 04:41 |
want to create a fade between the two.
And so go ahead and click on the
| | 04:46 |
Transition icon once again.
Grab Fade, a duration of one second is
| | 04:50 |
just fine, and drag it on to the
beginning of that movie.
| | 04:54 |
And Photoshop automatically knows,
because you hit the beginning of the
| | 04:58 |
movie that you want to fade the movie in
at this point.
| | 05:02 |
Then lets go all the way to the end of
the movie here, or very close to it,
| | 05:05 |
actually to the end of the water clip,
and now click on the Transition icon
| | 05:08 |
again, and grab Fade, and drag it and
drop it on the end of the movie, and that
| | 05:11 |
will go ahead and create a fade out.
And to show you, I'll go ahead and click
| | 05:18 |
up here in the time bar, to move the play
head to this location, and then I'll go
| | 05:21 |
ahead and drag like so, and you can see
the water fade out.
| | 05:25 |
Now I'd actually like to see a longer
fade, so what I'm going to do here, is
| | 05:29 |
right-click inside of this water clip,
and change the Duration to eight seconds
| | 05:33 |
this time around.
And then I'll go ahead and scroll over to
| | 05:38 |
the right, and to change the duration of
a transition, you just right click on it,
| | 05:42 |
on that little Transition icon, and then
you dial in a new value.
| | 05:47 |
For example, I'll change it to three
seconds, and then press the Enter key or
| | 05:51 |
the Return key, to accept that change.
Alright, ao that's how you add gradually
| | 05:57 |
fading transitions between video clips
and other layers inside of Photoshop.
| | 06:02 |
In the next movie, I'll show you how to
take advantage of some great keyboard
| | 06:06 |
tricks which we're now officially very
much in need of.
| | 06:10 |
| | Collapse this transcript |
| Activating a few painless keyboard shortcuts| 00:00 |
In this movie, I'll show you how to take
advantage of some really great video
| | 00:03 |
editing shortcuts.
But these are all easy to remember and I
| | 00:07 |
think you'll find them to be extremely
handy.
| | 00:10 |
Now, not all the shortcuts are active by
default.
| | 00:12 |
Some of them you have to turn on.
Others you can get to right away.
| | 00:15 |
For example, if you want to scroll back
and forth inside of the timeline, you can
| | 00:19 |
do so using the scroll wheel.
So scroll down to move to the right and
| | 00:23 |
then scroll up to move to the left.
If that's not working for you, just try
| | 00:27 |
making your timeline a little taller.
And then, you should be able to take
| | 00:31 |
advantage of that.
Now, when the Timeline panel is too short
| | 00:34 |
to accommodate all of your tracks, then
the scroll wheel will scroll up and down
| | 00:37 |
the list.
To scroll back and forth in that case,
| | 00:41 |
you press the Ctrl key or the Command key
on the Mac.
| | 00:44 |
And then, you scroll down to move to the
right, and you scroll up to move to the
| | 00:47 |
left.
And those all work, by the way, as long
| | 00:50 |
as your cursor is located inside the
Timeline panel.
| | 00:53 |
If it's located outside, then you'll end
up potentially scrolling the image.
| | 00:58 |
Another shortcut that works when your
cursor is inside the panel is the
| | 01:01 |
spacebar.
So pressing the spacebar goes ahead and
| | 01:04 |
plays the video like so.
If you want to stop the video, then
| | 01:07 |
either press the spacebar again or press
the Escape key.
| | 01:11 |
So as I say, those shortcuts always work
inside the Timeline panel.
| | 01:15 |
Another group of shortcuts only works if
you go to the Panels Flyout menu and
| | 01:19 |
choose Enable Timeline Shortcut Keys.
I recommend that you do this and if so,
| | 01:25 |
then you can take advantage of these
shortcuts.
| | 01:28 |
Pressing and holding the left arrow key
will move you backwards through the
| | 01:32 |
frames, as you see happening now.
Pressing and holding the right arrow key
| | 01:36 |
will move you forward through the frames.
And by the way, pressing the arrow keys
| | 01:40 |
moves you one frame at a time, so notice
down here, the lower left corner of the
| | 01:44 |
screen.
It's telling me that I'm at 29 seconds in
| | 01:48 |
3 frames, and if I press the left arrow
key, it tells me I'm now at 29 seconds in
| | 01:52 |
2 frames.
If you want to move ten frames to the
| | 01:55 |
time, then you press Shift along with one
of those keys.
| | 01:58 |
So Shift+left arrow is going to move you
ten frames earlier.
| | 02:01 |
Shift+right arrow is going to move you
ten frames later.
| | 02:04 |
Here's another trick you might find
useful.
| | 02:06 |
If you select a clip or another object
inside the timeline, you can press the up
| | 02:10 |
arrow key to go to the beginning of that
clip, and if you press the down arrow
| | 02:13 |
key, you'll move to the end of the clip.
If you can't see the clip that you
| | 02:19 |
want to move to here inside the Timeline
panel, because for example you are zoomed
| | 02:22 |
in too far, then you can just select that
clip here inside the Layers panel.
| | 02:27 |
So I'll go ahead and select the earth
clip, and then I'll press the up arrow
| | 02:31 |
key to move to the beginning of that clip
like so.
| | 02:34 |
And I can also press the down arrow key
to move to the end of that clip.
| | 02:38 |
There's also another trick that involves
pressing the Shift key along with the up
| | 02:42 |
and down arrow keys, and that moves you
one full second at a time.
| | 02:46 |
So notice that I'm looking at 14 seconds
and 29 frames in.
| | 02:50 |
If I press shift up arrow, I'll move to
13 frames 29 seconds in, and that's
| | 02:53 |
really great, for example, let's say I
want to find the point that's exactly 11
| | 02:57 |
seconds in.
I've now moved the playhead to 10 seconds
| | 03:02 |
29 frames, and then I can just press the
right arrow key to move to exactly 11
| | 03:05 |
seconds.
And now, if I press Shift+down arrow,
| | 03:09 |
I'll move to 12 seconds and then 13
seconds, and so forth.
| | 03:14 |
And then finally, if your keyboard offers
it, you can press the Home key to move to
| | 03:18 |
the very beginning of a movie, and you
can press the End key to move to the very
| | 03:22 |
end.
And again, all of these keyboard
| | 03:26 |
shortcuts require that your cursor is
sitting somewhere inside the Timeline
| | 03:29 |
Panel.
So there you have it, a handful of quick
| | 03:32 |
and easy keyboard shortcuts that are
going to make your life a lot easier when
| | 03:36 |
you're editing videos inside Photoshop.
| | 03:40 |
| | Collapse this transcript |
| Adding text to your video| 00:00 |
In this movie, I'll show you how to add
text to your video.
| | 00:03 |
I've gone ahead and collected all the
text, a total of nine layers in all,
| | 00:06 |
inside of another document, and I've
positioned each text layer exactly where
| | 00:09 |
it needs to be.
Now I created the text using a file
| | 00:13 |
called Avanear, which you may or may not
have installed on your system.
| | 00:16 |
So to make sure everything works out
properly, I converted all the text to
| | 00:19 |
vector based shape letters.
But this process would work exactly the
| | 00:23 |
same if you were using editable type.
So for starters here, make sure that the
| | 00:27 |
top layer, the Elements, is selected, and
then right-click with the Rectangular
| | 00:31 |
Marquee tool inside the image window and
choose Duplicate Layer.
| | 00:35 |
And then change the document to our video
in process, which in my case is called
| | 00:39 |
Now With Transitions.psd, and then click
Okay.
| | 00:42 |
If you get this warning telling you that
you'll be converting from one color space
| | 00:46 |
to another, it really doesn't matter
because we're working with white.
| | 00:50 |
Which is the same inside every color
space, so go ahead and turn on the Don't
| | 00:54 |
Show Again check box and click Okay.
Then switch back over to the video, and
| | 00:58 |
we want to move this text in the
timeline.
| | 01:01 |
So press the Home key in order to advance
back to the beginning of the movie.
| | 01:06 |
And then press Shift down arrow four
times in a row in order to advance the
| | 01:09 |
play ahead to 4 seconds.
Then, notice that the Elements layer is
| | 01:13 |
still selected here inside the Layers
panel, click on the fly out menu icon in
| | 01:17 |
the upper right corner of the timeline
panel.
| | 01:20 |
And choose Move and Trim, and then choose
Move Start to Play Head, and that'll go
| | 01:23 |
ahead and move the word Elements exactly
where it needs to be.
| | 01:28 |
Now press Shift-down arrow four more
times to advance to eight seconds, and
| | 01:31 |
return to the fly out menu, choose Move
and Trim.
| | 01:34 |
And, instead of choosing Move N to Play
Head, 'cuz that is what I want, I want to
| | 01:38 |
move the N to that point, but that'll
shift the entire five seconds of text
| | 01:42 |
because text always comes in by default
as five seconds long, I want it to be
| | 01:45 |
four seconds.
So instead choose Trim End at Play Head
| | 01:51 |
and you'll end up getting this effect
here.
| | 01:54 |
When you're bringing in a new layer
Photoshop always positions it at the play
| | 01:57 |
head, so let's go ahead and drag the play
head until we arrive at one second, which
| | 02:00 |
you can see down here in the lower left
hand corner of the screen.
| | 02:05 |
And then, switch back over to the
document that contains all the text.
| | 02:10 |
Scroll all the way down to the bottom of
the Layers panel and select this bottom
| | 02:13 |
Text layer, a Generic Ideals Production.
And now right-click inside the image
| | 02:18 |
window and choose Duplicate Layer, and go
ahead and put that layer inside the video
| | 02:22 |
document, and click Okay.
And now switch back over to the video,
| | 02:27 |
and notice that the text arrives exactly
where it needs to be.
| | 02:30 |
Alright now I want to shorten this guy,
and I'm just going to do it by dragging
| | 02:34 |
the right side of this item until the end
is at 4:15.
| | 02:37 |
And because there's 30 frames per second,
that translates to four and a half
| | 02:40 |
seconds.
Alright, we need to add a couple of
| | 02:43 |
transitions here, and you have to do this
manually, it can get a little tedious at
| | 02:46 |
times.
If I click on the transition icon, grab
| | 02:50 |
Fade, and drag it and drop it at the
beginning of the generic text, and then
| | 02:53 |
drag it and drop it at the end of the
text as well.
| | 02:57 |
And I do the same thing for the Elements,
right here.
| | 03:01 |
And the duration, by the way, of the
fade, should be one second as by default.
| | 03:06 |
Alright now let's bring in the other text
layers, and I want them to start-off at
| | 03:09 |
eight second in, so I'll move the play
head to eight seconds again.
| | 03:14 |
Again, keep your eye on the lower left
corner of the screen.
| | 03:17 |
And now, I'll switch over to my text
document.
| | 03:19 |
I'll click on this layer that says
@lynda.com/deke, scroll up the list and
| | 03:23 |
then Shift+click on the word Starring,
and that'll select an entire range of
| | 03:27 |
seven layers.
Then right-click inside the image window
| | 03:31 |
and choose Duplicate Layers.
And go ahead and send those layers to the
| | 03:35 |
video document and then click Okay.
Alright, now switch back to the video
| | 03:39 |
document and you'll see that you've got
scads of layers sitting here.
| | 03:44 |
Go ahead and expand the size of the
Timeline panel, so we can move all these
| | 03:47 |
guys where they need to be.
Now, as long as they're all in the same
| | 03:51 |
place, we might as well add the
transitions one at a time, I'm afraid.
| | 03:54 |
So click on the Transition icon and go
ahead and add Fades to the beginning and
| | 03:59 |
to the end of every single one of these
seven text objects.
| | 04:04 |
And notice, by the way, that we're just
going with standard fades, as opposed to
| | 04:08 |
fade to black or fade to white, or
something along those lines, I want to
| | 04:11 |
show you why.
After I get done putting these fades in
| | 04:15 |
place, which are the actual transitions I
want, I'll go ahead and switch out this
| | 04:18 |
guy here.
I'll right-click on the ending fade for
| | 04:23 |
starring, and I'l change it from Fade to
Fade with Black.
| | 04:27 |
And here's what ends up happening.
If I scoot over the play head a little
| | 04:31 |
bit here, and then I start playing.
Watch the word Starring in the upper left
| | 04:35 |
corner of the image window, notice that
it fades just the word to black.
| | 04:40 |
And to make this more clear, I'll go
ahead and drag the play head back here,
| | 04:43 |
and I'll set it at about this location, a
little more than 12 seconds in.
| | 04:48 |
And I'll press the right arrow key, so
that you can see it fades to black, and
| | 04:52 |
then it fades away.
And obviously, black text is not what
| | 04:55 |
we're looking for, even against the black
background, it's not really going to do
| | 04:59 |
the trick.
So anyway I'll right-click on that fade
| | 05:02 |
again and switch it back to Fade.
Alright now that we've moved all our text
| | 05:06 |
layers into the movie, it's time to
position them and collect them into
| | 05:10 |
groups, so that they take up less room
inside the Timeline panel.
| | 05:14 |
And we can actually see what weju're
doing inside the image window and I'll
| | 05:18 |
show you how that works in the next
movie.
| | 05:21 |
| | Collapse this transcript |
| Combining your text into video groups| 00:00 |
In this movie, I'll show you how to
position our new Text objects inside the
| | 00:03 |
time line.
And I'll also show you how to combine
| | 00:06 |
them into just two tracks so that we save
ourselves a lot of room onscreen.
| | 00:10 |
So the first thing I'm going to do is
grab the word, Starring, here.
| | 00:14 |
And I'm going to drag it into the same
track that contains a generic IDS
| | 00:18 |
production.
And then I'll drop it into place and that
| | 00:21 |
combines those two into a single video
group.
| | 00:25 |
And you'll actually see that group here
inside the Layers panel, where you can
| | 00:28 |
once again rename it.
And I'll go ahead and call this guy, text
| | 00:32 |
group 1, because that's what it is.
Now I'm going to click on water and
| | 00:36 |
Shift-click on earth in order to select
all four of these text layers, and I'm
| | 00:39 |
going to drag them and drop them into the
same track that contains the elements.
| | 00:45 |
And I create yet another video group.
And I'll go ahead and rename it inside
| | 00:49 |
the Layers panel as well.
This guy by the way is, text group 2.
| | 00:53 |
Now notice that these text objects come
in, in the wrong order.
| | 00:58 |
And that's once again because water's on
the bottom here.
| | 01:01 |
And Earth is at the top.
We need to reverse that.
| | 01:04 |
So click on Water, then Shift-click on
Earth here inside the Layers panel.
| | 01:08 |
That's the easiest way to work.
And then go up to the Layer menu, choose
| | 01:12 |
a Range, and choose Reverse, in order to
reverse the order of those layers.
| | 01:18 |
And, in doing so, you reverse their order
here inside the timeline.
| | 01:22 |
Now I want these guys to begin ten
seconds in.
| | 01:24 |
So I'll move my play head to exactly ten
seconds.
| | 01:28 |
And now, I'll drag Earth, and notice that
it snaps to the play head.
| | 01:32 |
Now I'll scroll over a little bit here, I
still want to be able to see the play
| | 01:35 |
head though.
And I'll press Shift+Down Arrow four
| | 01:38 |
times in a row to advance to 14 seconds
And I'll go ahead and drag this edge
| | 01:42 |
until it snaps into alignment at that
point.
| | 01:46 |
And that goes ahead and moves the air and
fire and water text, as well.
| | 01:51 |
Then I'll press Shift+Down Arrow four
more times.
| | 01:53 |
And drag this guy over.
And I'll do it again, Shift+Down Arrow
| | 01:57 |
one, two, three, four times.
And I want to scroll over a little bit
| | 02:01 |
and I'd do so using the scroll wheel on
my mouse.
| | 02:04 |
Then I'll drag this guy until he's snaps
into alignment and I'll do one more time
| | 02:08 |
I'll press Shift+Down Arrow one, two,
three, four times.
| | 02:11 |
Scroll over a little bit so I can see the
end there and I'll go ahead and drag this
| | 02:15 |
guy and snap him into alignment as well.
All right, now let's take care of these
| | 02:20 |
last two text layers.
I'll press Shift+Down Arrow twice to
| | 02:22 |
advance to 28 seconds, and then I'll
press the Home key to go back to the
| | 02:26 |
beginning of the movie.
So then I can see Live Today, and that's
| | 02:30 |
not Live Today, it's Live Today.
And at Lynda.com and I'll click on one
| | 02:35 |
and Shift-click on the other.
In order to select them both.
| | 02:39 |
And what I'd like to do is just move them
over to the play head but If I go to the
| | 02:43 |
flyout menu icon.
Move and Trim is now dimmed which is a
| | 02:47 |
real shame.
So what I've gotta do is press the Esc
| | 02:50 |
key to get out of there.
And zoom out by clicking on the tiny
| | 02:53 |
mountain icon a couple of times.
And now I need to move that play head
| | 02:57 |
back into place.
By right-clicking on it and choosing Go
| | 03:00 |
To Time.
And I'll just go ahead and change the
| | 03:03 |
seconds right here to 28.
And then I'll press the Enter key or the
| | 03:07 |
Return key on a Mac to advance the play
head.
| | 03:10 |
And now I'll drag these guys over until
they snap into place.
| | 03:14 |
Now both these guys need to be in
separate groups because they are going to
| | 03:17 |
overlap each other, so I'll go ahead and
take @ lynda.com/deke, and drag it down
| | 03:21 |
to text group 2.
And I'll take live today and drag it down
| | 03:26 |
into text group 1.
All right, lets go ahead and zoom in on
| | 03:29 |
things so we can better see what we're
doing.
| | 03:31 |
Now live today is just fine as it is.
As I was saying in a previous movie, new
| | 03:36 |
layers always come in as five seconds
long, but I want @ lynda.com to fade in
| | 03:39 |
after that, a couple of seconds later.
So I'll press Shift+Down Arrow a couple
| | 03:45 |
of times to advance the play head to 30
seconds.
| | 03:48 |
And I'll go ahead and drag this left edge
and snap it into alignment at that
| | 03:52 |
location.
All right, now of course we need to make
| | 03:55 |
sure everything is working in the way it
should.
| | 03:58 |
So, I'll go ahead and drag the top of the
timeline panel down, so that we can see
| | 04:01 |
what's going on inside the image window.
And I'll press the Home key to advance to
| | 04:05 |
the very beginning.
And I'll press the Space Bar so that we
| | 04:09 |
can see how things lay out.
So obviously this text is fading in and
| | 04:13 |
then fading out, there's a slight
overlap, which is why these guys need to
| | 04:18 |
be on separate tracks.
And then, we're now seeing Earth come up,
| | 04:23 |
there's air, in sync with the air in the
background, there's fire, notice that I
| | 04:27 |
positioned the fire item there, the fire
text, so it was always against that fire
| | 04:31 |
background.
Now we've got water, we're going to fade
| | 04:36 |
slowly to black.
And then we've got this live today
| | 04:40 |
followed by @ lynda.com/deke.
And that's the end of the movie.
| | 04:44 |
So everything is exactly where it needs
to be, and we have a lot less clutter
| | 04:48 |
going on here inside the timeline panel.
In the next movie I'll show you how to
| | 04:54 |
set your text in motion.
| | 04:57 |
| | Collapse this transcript |
| Adding motion to text (or any layer)| 00:00 |
In this movie I'll show you a couple of
different ways to add motion to a text
| | 00:03 |
layer.
And these tricks work just as well if
| | 00:06 |
you're working with a vector-based shape
layer as we are as well as a pixel based
| | 00:10 |
photograph.
So you can pan and zoom any still are you
| | 00:15 |
like inside your movie.
So if you are working on with me, find
| | 00:19 |
the starring layer somewhere inside the
layer's panel.
| | 00:23 |
And then press C up here or key, in order
to advance to the beginning of that layer
| | 00:27 |
like so.
And just so we can better see what we are
| | 00:29 |
doing.
I'm going to remove the transitions.
| | 00:32 |
And you do that by right clicking on a
transition, and then clicking on the
| | 00:35 |
little Trash Can icon, and I'll do it for
both transitions of course.
| | 00:40 |
Alright, now I can see this starting
layer.
| | 00:42 |
Now it occurs to me that it's getting a
little bit lost in the shuffle.
| | 00:47 |
So I'd like to add just a little bit of
motion to call attention to it.
| | 00:51 |
And here's one way to do it.
This is the more laborious method, but it
| | 00:54 |
also gives you the most control.
First thing is, you click on this little
| | 00:59 |
arrowhead, right there in front of the
word starring.
| | 01:02 |
And then you get access to all these
tweening options.
| | 01:05 |
Photoshop will automatically move a layer
between two positions, or change the
| | 01:09 |
opacity of a layer between two extremes,
or change the style, that is to say the
| | 01:13 |
layer effects for example.
Now normally we'd work with this position
| | 01:18 |
option here.
But that won't have an effect on a
| | 01:21 |
vector-based shape layer because it
essentially moves the color inside the
| | 01:24 |
layer independently of the mask, which
remains stationary, so that's not
| | 01:28 |
going to do us any good.
Instead what we want to do is alter the
| | 01:32 |
vector mask position.
So with your playhead right there at the
| | 01:36 |
beginning of the text, go ahead and click
on the little stopwatch icon, and that'll
| | 01:39 |
go ahead and add this diamond-shaped key
frame indicator.
| | 01:43 |
Next thing you want to do is press the
down arrow key to advance to the end of
| | 01:47 |
the text and then click on this little
diamond over here on the left side of the
| | 01:50 |
screen in order to add another key frame.
Now this'll be our end key frame, the
| | 01:55 |
other one's the beginning.
We're going to leave the beginning key
| | 01:59 |
frame alone.
We're just going to modify the end
| | 02:01 |
position.
And I'll do that by pressing the Control
| | 02:03 |
key, or the Command key on a Mac, to
temporarily get the move tool.
| | 02:07 |
Don't drag the text directly because
you'll mess up the vector mask.
| | 02:10 |
Instead, drag outside the text, and as
I'm Ctrl-dragging or Cmd-dragging on the
| | 02:14 |
Mac, I'm also pressing the Shift key at
the same time, in order to constrain the
| | 02:18 |
movement to exactly vertical.
And I'll go with, about 180 pixels is
| | 02:23 |
just fine.
Now, press the Up Arrow key again, in
| | 02:26 |
order to go back to the start position.
And press the Space Bar in order to play
| | 02:31 |
the text effect, and you can see that the
text is, indeed, moving across the course
| | 02:35 |
of the five second set it appears
onscreen.
| | 02:40 |
Alright, that's one way to work and like
I say that one gives you the most control
| | 02:44 |
because you can determine exactly the
beginning and ending points.
| | 02:49 |
If you're working live editable text or a
pixel based layer then you have a simpler
| | 02:53 |
option in which Photoshop takes over the
control.
| | 02:57 |
Let me show you how that works.
I'll go up to the file menu and choose
| | 03:00 |
the revert command in order to restore
the same version of the image and I'll
| | 03:03 |
click on the starting layer once again
press the up arrow key in order to
| | 03:07 |
advance to the beginning of that layer
and I'll go ahead and zoom in a little
| | 03:10 |
bit as well.
Notice this item in the timeline does not
| | 03:16 |
contain a little arrowhead in its upper
right corner the way that say the movie
| | 03:20 |
clips do.
It would if it was an actual text layer
| | 03:24 |
or if it was a pixel based layer to make
that happen with the vector layer you
| | 03:27 |
have to first convert it to a smart
option but if I do that then I'm also
| | 03:30 |
going to gobble up these transitions
inside the smart object which would give
| | 03:33 |
me less editing control later on down the
line.
| | 03:39 |
So what I recommend you do is right click
on each one of these transitions and
| | 03:43 |
delete them by clicking on their trash
icons, and then converting the layer into
| | 03:47 |
a Smart object by clicking it.
We need to make sure it's active here
| | 03:52 |
inside of the Layers Panel, and then go
to the Panels Fly out menu and choose
| | 03:55 |
convert to Smart Object, and just like
that we now have that little arrowhead...
| | 04:02 |
At this point, what you can do is click
on the arrow head to bring up these
| | 04:05 |
motion options.
By default it's set to No Motion, but you
| | 04:08 |
can go with Pan and Zoom in order to move
and scale the text.
| | 04:13 |
All I want to do, however, is pan it.
Now, if you resize it to fill the canvas,
| | 04:18 |
it's going to be gargantuan.
It's going to take up the entire movie,
| | 04:21 |
which is not what we want.
So go ahead and turn that item off.
| | 04:25 |
And then, we want the text to move
straight down, which means it needs to be
| | 04:28 |
negative 90 degrees.
And you can just type that in if you want
| | 04:32 |
to.
And that's all there is to it.
| | 04:35 |
Now, if I press the enter key, or the
return key on a Mac, in order to accept
| | 04:38 |
that change And I press the Space Bar,
you can see that the text moves down,
| | 04:41 |
albeit a shorter distance than I had it
moving when I set the controls manually.
| | 04:48 |
All right, now we need to add back in the
fades of course, so click on the little
| | 04:51 |
Transition icon, grab Fade, drag it and
drop it onto the beginning of the movie
| | 04:54 |
and onto the end of the movie, and now
let's see what that looks like.
| | 05:00 |
I'll set the playhead over here to around
seven seconds.
| | 05:03 |
And press the space bar, and now we can
see this text moving down and then
| | 05:07 |
eventually fading out like so.
And that way, we call attention to the
| | 05:13 |
text without adding some over the top
garrish effect.
| | 05:18 |
So there you have it, two ways to add
motion to otherwise stationary layers
| | 05:22 |
inside Photoshop.
Either by taking the manual approach
| | 05:26 |
which gives you more control or by taking
the automated approach and letting
| | 05:30 |
Photoshop be in charge.
| | 05:33 |
| | Collapse this transcript |
| Adding soundtracks and voiceovers| 00:00 |
In this movie, I'll show you how to add
an audiotrack to your video.
| | 00:04 |
In fact we'll add two audio tracks.
One for the musical soundtrack, and
| | 00:08 |
another for a couple of voice overs.
I'll press the Home key to advance to the
| | 00:11 |
beginning of the movie.
And then I'll click on the Elements layer
| | 00:15 |
right here, which is that text layer, and
I'll Zoom in a little bit so that we can
| | 00:18 |
see the entire word, and then I'll press
the Up arrow key in order to advance to
| | 00:22 |
the point at which this text is about to
fade in, because this is exactly the spot
| | 00:26 |
at which I want my soundtrack to begin.
Now, notice down here, at the bottom of
| | 00:33 |
the timeline panel, you have an empty
audio track by default.
| | 00:37 |
To fill it, click on the little Note
Icon, and choose Add Audio, then if your
| | 00:41 |
working along with me go to the media
file subfolder inside of the 39 video
| | 00:44 |
folder, and the music that we're looking
for is this one right here, its called
| | 00:48 |
music industrial.mp3.
And something to note by the way,
| | 00:54 |
Photoshop does not support the industry
standard wave format.
| | 00:58 |
If you want see a list of formats it does
support, then the best way to do it, is
| | 01:01 |
if you're in the process of importing and
audio file, click on Files Of Type, and
| | 01:05 |
you'll see a list of all the audio
formats, as well as a much longer list of
| | 01:08 |
video formats.
But as you can see, wave is missing.
| | 01:14 |
Which is why I feel like, when in doubt,
convert to the MP3 format, but you also
| | 01:18 |
have AAC and a few others, if you like
them better.
| | 01:22 |
Anyway, I'm going to select that File and
then click Open.
| | 01:26 |
Now, ideally, that file would've landed
right there at the 4 second mark, but it
| | 01:29 |
didn't, it's just filling up the entire
time line.
| | 01:33 |
Now, what you don't want to do, is grab
the beginning of the audio track and move
| | 01:37 |
it over and snap it into place, because
that way you would cut away the first
| | 01:41 |
four seconds of your song, which would
never be a good idea.
| | 01:46 |
It is also why Photoshop is smart enough
not to even let you do it.
| | 01:51 |
So when I release, notice the beginning
of the music goes back to the start of
| | 01:53 |
the movie.
Instead what you want to do is drag the
| | 01:56 |
soundtrack over.
That presents us with a problem though,
| | 01:59 |
notice that the elements text was still
selected, so its been moved along with.
| | 02:04 |
I don't want that, so I'll press Ctrl+Z,
Cmd+Z on the Mac.
| | 02:08 |
The safest way to Deselect something is
to Ctrl click on it, or Cmd click on it
| | 02:11 |
on the Mac, as opposed to Shift clicking.
Because when you'e Shift clicking, you're
| | 02:16 |
selecting a range of layers, and you
never know what you're going to end up
| | 02:19 |
getting.
You can accidentally select across
| | 02:21 |
multiple groups inside Photoshop.
So now that we've deselected everything
| | 02:25 |
but the soundtrack, go ahead and drag it
over to the right, until it snaps into
| | 02:29 |
place at the playhead.
Now press the N key to advance to the end
| | 02:33 |
of the movie, and notice that we've gone
way past, I'll go ahead and zoom out
| | 02:36 |
here, we've gone way past what is really
the end of the movie here.
| | 02:41 |
And that may be a function of the length
of the song, I doubt it, I think it's
| | 02:44 |
longer than this, but we do need to
curtail it, and there's no harm in
| | 02:47 |
cutting away the end of a song.
The Artist might not necessarily approve,
| | 02:53 |
but, for purposes of your video, it's a
great thing to do, as long as once you've
| | 02:56 |
cut off all that extra stuff, you go
ahead and insert a Fade.
| | 03:01 |
And you do that by clicking on this
right-pointing Arrowhead, that bring up
| | 03:05 |
these Audio options, and I'll just go
ahead and change the Fadeout to six
| | 03:08 |
seconds, and then press the Tab key in
order to accept that modification.
| | 03:14 |
And now I'll press the Enter key to hide
the panel.
| | 03:16 |
Alright, now we need to add the Voice
Overs, so I'll press the Home key to
| | 03:19 |
advance back to the beginning of the
movie.
| | 03:21 |
And I'll advance the Play Head to a
second 15 frames right here, which is one
| | 03:26 |
and a half second at 30 frames per
second.
| | 03:30 |
And I accidently missed right there, I
set it to one fourteenth.
| | 03:33 |
We'll just press the right arrow key in
order to advance one frame.
| | 03:37 |
And I decided that I needed to read the
text at the very beginning of the movie,
| | 03:40 |
this production setup, and the text at
the end of the movie.
| | 03:44 |
So that's what I did, and then I messed
around with it inside Adobe Audition,
| | 03:47 |
which allows you to apply all kinds of
different audio effects.
| | 03:52 |
Really a fun program.
Anyway, some of the voice over will
| | 03:54 |
overlap the soundtrack, so I need a new
audio track and you can make a second
| | 03:58 |
audio track, or a third or a fourth, by
clicking on the little Note icon and
| | 04:01 |
choosing New Audio Track.
And then we'll fill it by clicking on its
| | 04:07 |
Node icon and choosing Add Audio.
And I'm looking for two files here,
| | 04:12 |
voiceoverone.mp3 and voiceovertwo.mp3, so
Click on one, Shift+Click on the other,
| | 04:16 |
click on the Open button, and they will
both appear inside the Timeline.
| | 04:22 |
Alright, I'll go ahead and Shift+Click on
Voiceover 1 and just scoot both of them
| | 04:25 |
over until they snap into alignment with
the playhead.
| | 04:29 |
And then, I'll click off those clips to
deselect them.
| | 04:31 |
So, you can see that this voiceover
starts at the halfway point of the fade.
| | 04:36 |
That's why we're 15 frames, or half a
second in.
| | 04:38 |
I want to do the same thing with voice
over 2, but that's on the other side of
| | 04:42 |
the timeline.
So I'll go ahead and right-click on the
| | 04:45 |
Play Head here, and choose go to time,
and set it to 28 seconds, 15 frames, and
| | 04:49 |
that moves my Play Head so I can no
longer see it, so I'll just go ahead and
| | 04:52 |
Zoom out here, a couple clicks, so that I
can see everything, and I might be able
| | 04:56 |
to get away with zooming in slightly more
than that, and then I'll go ahead and
| | 04:59 |
drag this guy over to this location.
And the whole reason I added these
| | 05:07 |
voice-overs is specifically because of
this.
| | 05:10 |
I was worried that some people would read
this as live today at lynda.com/deke, And
| | 05:15 |
I suppose its entire possible you could
go live on the lynda.com campus, but it
| | 05:19 |
would be impracticable, so I figured I'd
better say live today, at lynda.com/deke.
| | 05:27 |
And that's what this voice-over is all
about.
| | 05:29 |
Now it has to play over the sound track.
And so I needed to boost the gain, that
| | 05:34 |
is, make the voice-over louder.
And you do that by clicking on
| | 05:38 |
right-pointing arrowhead, once again, and
adjusting the Volume Setting, and I Just
| | 05:42 |
changed it to 150%.
And then I did the same, of course, for
| | 05:46 |
the other voice over, click on its
Right-Pointing Arrowhead and change its
| | 05:50 |
Volume Setting to 150% as well.
All right.
| | 05:54 |
Now let's see what we've done.
I'll press the Home Key to go back to the
| | 05:57 |
beginning of the movie.
And now I'm going to play it for you,
| | 06:01 |
complete with soundtrack.
| | 06:03 |
>> A Generic Ideas Production.
| | 06:06 |
(MUSIC)(MUSIC)
| | 06:12 |
Live today at lynda.com/deke(MUSIC) I
know, that's my voice.
| | 06:40 |
Go figure.
Anyway, now you know how to add musical
| | 06:43 |
soundtracks, and spoken voice overs, as
audio tracks inside Photoshop.
| | 06:50 |
| | Collapse this transcript |
| Exporting and examining your video| 00:00 |
In this movie, I'll show you how to
export your video to a universally
| | 00:03 |
compatible file format, so that you can
share it with other folks, and you can
| | 00:07 |
also view it full-screen.
And, when you view the movie, you'll want
| | 00:12 |
to do so with a critical eye.
Figure out exactly what's right and
| | 00:15 |
what's wrong about it, because
invariably, you'll need to make some
| | 00:18 |
edits.
And as it turns out, I need to make an
| | 00:21 |
edit before I even export the video.
Remember when I imported the soundtrack
| | 00:25 |
in the previous movie.
I showed you how you don't want to clip
| | 00:28 |
away the first four seconds, and
thankfully Photoshop is smart enough not
| | 00:31 |
to let you, well actually, that's not the
case.
| | 00:35 |
Photoshop did clip away the first four
seconds.
| | 00:38 |
And then, it went ahead and reinstated
the movie at the zero zero point.
| | 00:42 |
So what we need to do is update this
movie.
| | 00:45 |
Now it would be nice if I could just
click on the Note icon, and choose an
| | 00:48 |
update command, or either choose or
replace audio clip.
| | 00:52 |
But unless you replace one audio clip
with another that has a different name,
| | 00:55 |
Photoshop ignores you, and it'd probably
clip away those first four seconds again.
| | 00:59 |
So, what we need to do, is delete the
audio and reintroduce it.
| | 01:03 |
Fortunately that's not really hard.
I'll just go ahead and select it and
| | 01:06 |
press the Backspace key to get rid of it.
And then, in this first audio track, I'll
| | 01:10 |
click on the Node icon and I'll choose
Add Audio.
| | 01:13 |
I'll make my way back to the Media File
subfolder.
| | 01:16 |
Select Music_Industrial.mp3, and by the
way, in case you're thinking I named this
| | 01:21 |
file, whoever wrote the music called it
industrial.
| | 01:24 |
And then, I'll click on Open, in order to
reintroduce that soundtrack like so.
| | 01:29 |
Now I want to position the playhead at
the beginning of the elements head.
| | 01:33 |
So, I'll select that text, and I'll press
the Up arrow key in order to place the
| | 01:37 |
playhead at the four second mark.
And then, I'll go ahead and drag the
| | 01:42 |
entire soundtrack over to the right.
Now I'll press the N key, in order to go
| | 01:46 |
to the end of the movie, and you can see
that it still extends beyond what should
| | 01:49 |
be the end of the movie, right there at
that black screen, which you can barely
| | 01:53 |
see over there on the left-hand side.
So, I'll drag the end over like so, until
| | 01:59 |
it snaps into alignment, and then I'll
click on that right pointing arrowhead,
| | 02:02 |
and change the Fade Out value back to six
seconds, like so.
| | 02:07 |
And then I'll press the Enter key, or the
Return key on the Mac, in order to make
| | 02:11 |
that change.
Alright, now I'll press the Home key, in
| | 02:14 |
order to go back to the beginning.
Alright, now let's export the video.
| | 02:18 |
Now, there's a few ways to do that.
You can go up to the File menu, choose
| | 02:21 |
the Export command and choose Render
Video.
| | 02:24 |
But, there's a couple of easier ways to
get to this function.
| | 02:27 |
One, is to go to the Fly Out menu, and
choose Render Video.
| | 02:30 |
And if that's too much work, then you can
just click on this little arrow icon,
| | 02:34 |
down here on the lower left corner of the
screen.
| | 02:37 |
Notice it says Render Video when you
hover over it.
| | 02:40 |
And sure enough when you click on it,
that brings up the Render Video dialogue
| | 02:44 |
box.
I'm going to call my movie, First Draft
| | 02:47 |
Movie.
And I've already saved it in advance by
| | 02:49 |
the way, so if your going to save off
aversion, you'll want to use a different
| | 02:52 |
name.
This time around, I'm going to set the
| | 02:55 |
format, instead of Quicktime, to H.264,
because it gives you a ton of preset
| | 02:59 |
options.
Notice if I click on the preset pop up
| | 03:03 |
menu, I can save my movie for use on
Vimeo, or YouTube, or so that it's
| | 03:06 |
compatible with any of the number of
devices listed at the top of the menu.
| | 03:12 |
But I'm going to stick with high quality,
just so that we get the best results.
| | 03:16 |
You want the document size to be 1280 by
720, the frame rate is 30, all the others
| | 03:20 |
are fine set to their defaults, you want
color manage to be turned on, and of
| | 03:23 |
course we're going to save out all the
frames.
| | 03:28 |
Now click on the Render button in order
to render that movie.
| | 03:31 |
But as I say, I've already done it in
advance.
| | 03:33 |
So I'm going to cancel out.
And then, I'll go out to the Edit menu,
| | 03:36 |
and choose Browse and Bridge, or you can
press Control Alt O, or Command Option O
| | 03:40 |
on the Mac.
And there's my First Draft Movie file,
| | 03:43 |
that I rendered out just before I started
recording this movie.
| | 03:47 |
I'm going to go ahead and double click on
it to open it inside Windows Media
| | 03:49 |
Viewer.
And I want to switch to the full screen
| | 03:52 |
mode here, and then I'll go ahead and
back up to the beginning, and I'll play
| | 03:56 |
it, and then I'll tell you what I think
of the darn thing.
| | 04:00 |
>> A generic ideas production.
| | 04:07 |
(MUSIC).
| | 04:11 |
(SOUND).
| | 04:16 |
>> Okay so here are my thoughts.
And, I'm going to play it back once again
| | 04:36 |
so you can think about these things as
you listen.
| | 04:39 |
You might have totally different
problems, but right at the beginning when
| | 04:43 |
the word Elements comes up, and the music
goes along with it, the attack on the
| | 04:46 |
word Elements is too slow.
Then there's that guy's mumbly part, I
| | 04:51 |
think after listening to it about 100,000
times he's saying, I never told you that
| | 04:54 |
I loved you til today.
And, that is happening both during the
| | 05:00 |
earth and the air.
It's kind of transitioning between the
| | 05:03 |
two.
And it makes a little bit of sense for
| | 05:05 |
the earth part, but not really the air
part.
| | 05:07 |
And it doesn't make sense during the
transition at all.
| | 05:10 |
The words, earth, and air, and fire, and
water, they don't land on the beats.
| | 05:15 |
And I would like them to.
And finally I'm not happy with the way
| | 05:18 |
the darn thing fades out.
So, let's listen again together and see
| | 05:22 |
if you don't agree.
| | 05:24 |
>> A generic ideas production.
(MUSIC).
| | 05:25 |
>> See what I'm talking about with the
| | 05:26 |
attack there.
It just doesn't hit right.
| | 05:29 |
The text needs to come up quicker.
And that guy, what is he saying?
| | 05:39 |
And here, see the word air, that wants to
be on the beat.
| | 05:43 |
And so does the word fire, right on the
beat.
| | 05:45 |
Water too.
| | 05:45 |
>> Live today, at lynda.com/deke.
| | 05:57 |
>> And finally this fade out, I don't know,
just needs some work.
| | 06:01 |
Alright so that gives you an idea of the
work that we still have left to do, and
| | 06:05 |
it gives me a chance to show you what
it's like to edit an existing video,
| | 06:09 |
inside Photoshop, starting in the next
movie.
| | 06:14 |
| | Collapse this transcript |
| Editing an existing video comp| 00:00 |
In this movie we'll resolve those
problems that I mentioned in the previous
| | 00:03 |
movie.
And along the way you'll get a sense for
| | 00:06 |
how you edit an existing video inside
Photoshop because it's something you're
| | 00:10 |
always going to have to do.
And it takes a little bit of getting used
| | 00:14 |
to.
I'll go and press the end key to advance
| | 00:17 |
to the end of the movie.
And I'll also zoom in a little bit here
| | 00:20 |
so that I have some finer control.
And the first thing we're going to take
| | 00:25 |
care of is the fact that I don't like the
fade at the end of the song.
| | 00:28 |
And I figured out through trial and
error.
| | 00:30 |
There's a better point at about 39
seconds ten frames.
| | 00:35 |
So, that's what we're going to deal with
first.
| | 00:37 |
I'll go ahead and click on the black
layer here, and I'll go ahead and drag it
| | 00:40 |
out to 40 seconds, and I'm just keeping
an eye on the heads up display.
| | 00:44 |
And now, I'll right click on my play head
and choose go to time and just so I get
| | 00:48 |
it right, I'll dial in 39 colon ten.
So 39 seconds ten frames and click Okay.
| | 00:55 |
And then I'll select the soundtrack here,
and I'll drag it until it snaps into
| | 00:59 |
alignment with that point.
Now we also need to move that ending
| | 01:03 |
message.
In fact, we need to extend the entire
| | 01:05 |
video to compensate, so I'll click on
this item, at lynda.com, and press the up
| | 01:09 |
arrow key in order to advance my playhead
to the beginning of that item.
| | 01:14 |
And I'll Shift click on live today and
I'll go ahead and drag them over like so.
| | 01:20 |
But it looks like I'm getting some other
items here, what gives.
| | 01:23 |
Well if you take a look at what I've
selected inside the Layers panel, because
| | 01:26 |
I clicked on this layer and I shift
clicked on this layer.
| | 01:30 |
I also grabbed starting and a generic
ideas production, and the entire text
| | 01:35 |
group too.
So all that stuff moved over.
| | 01:38 |
Which means I need to press Ctrl Z or
Command Z on the mac to undo that change.
| | 01:42 |
And instead of Shift clicking, and this
is a habit you want to get into when
| | 01:45 |
you're selecting things in a timeline.
Click on one item and then either Ctrl
| | 01:50 |
click here on a PC or a Command click on
a mac.
| | 01:54 |
On the other item to select them
independently of the other layers and
| | 01:57 |
notice now just these two layers are
selected.
| | 02:01 |
So the real activity of selecting items
goes on inside the layers panel not so
| | 02:05 |
much the timeline.
Now I'll drag this over like so until it
| | 02:09 |
snaps into alignment there in 30 seconds.
And I also decided I wanted these guys to
| | 02:16 |
end at 36 seconds.
So I need to go ahead and advance the
| | 02:19 |
play head.
What I'd like to do is press the Down
| | 02:21 |
Arrow key to move it to the end of those
items we were just seeing a moment ago.
| | 02:25 |
But because I had two of them selected,
the Down Arrow shortcut doesn't work.
| | 02:30 |
So what you have to do instead, is click
on one of them, and then press the Down
| | 02:33 |
Arrow key to advance to the end of it.
And then, I'll press Shift Down Arrow to
| | 02:38 |
move to 36 seconds.
It should be actually 35 seconds, 29
| | 02:42 |
frames, so I'll press the Right Arrow key
to nudge it one frame more.
| | 02:47 |
Now I'll drag this guy out to snap into
alignment.
| | 02:50 |
And then I'll select this one and drag
him out to snap into alignment.
| | 02:54 |
And I'll right click on this fade right
there.
| | 02:56 |
And I'll change its duration to two
seconds, and that outta work if this is
| | 02:59 |
the right lenght, you want to be able to
enter two seconds.
| | 03:04 |
If its a little bit shorter, Photoshop
might give you back a slightly different
| | 03:06 |
value.
Anyway, I right-click on this transition,
| | 03:09 |
as well.
And change its duration to two seconds
| | 03:12 |
too.
And now I need to grab that voice-over
| | 03:15 |
right there.
And press the Up arrow key, to advance to
| | 03:18 |
the beginning of it.
And then press Shift Down arrow twice, to
| | 03:21 |
move two seconds in.
And go ahead and drag that guy until it
| | 03:24 |
snaps into alignment with the playhead.
All right, let's see what kind of
| | 03:28 |
difference all of this makes to the end
of the movie.
| | 03:30 |
And go ahead and move my playhead to
about there, then I'll press the Spacebar
| | 03:34 |
to play.
| | 03:35 |
(MUSIC)
| | 03:37 |
Live today at lynda.com/deke.
So did you hear that?
| | 03:48 |
We had better flourishes right there at
the end.
| | 03:50 |
I'll play it again.
We have better flourishes right as this
| | 03:53 |
thing fades out and after actually my
voice over there, so I'l' go ahead and
| | 03:57 |
play this whole thing, and then we have a
better Fade.
| | 04:02 |
It's not perfect, but it's a lot better
than it was.
| | 04:04 |
(MUSIC) Live today @ lynda.com/deke.
See, it's still abrupt right there at the
| | 04:16 |
end, but this is Photoshop after all.
It's not a professional gauge sound
| | 04:21 |
editor.
Alright now let's take care of the up
| | 04:24 |
front problems so press the home key to
advance back to the beginning here and
| | 04:27 |
I'm going to grab elements and I was
telling you part of the problem is that
| | 04:30 |
the sound doesn't attack the text right
there properly I'll go ahead and move to
| | 04:34 |
that location so you can see what I'm
talking about.
| | 04:39 |
(MUSIC) See the text is just a little bit
sluggish.
| | 04:42 |
It should come up faster because the song
after all starts abruptly.
| | 04:46 |
So I'll go ahead and right-click to this
initial transition.
| | 04:50 |
And I'll change it to 0.2 seconds, so you
can make these transition very fast.
| | 04:55 |
And then I'll press the enter key to hide
that guy.
| | 04:58 |
And I'll right-click on the right
transition.
| | 05:01 |
And I'll change it to two seconds so it
has a nice little fade out.
| | 05:05 |
Alright now I'll go ahead and scoot over
the starring here.
| | 05:08 |
And I don't want it to be this long I've
decided.
| | 05:10 |
So I'll go ahead and select it and press
the Down Arrow key to move the player
| | 05:12 |
head to the end of it.
And then I'll press Shift Up arrow to
| | 05:16 |
move back a second.
And I'll just grab this guy until he
| | 05:19 |
snaps into alignment.
Alright now we need to make some changes
| | 05:22 |
to that text that appears above the
videos.
| | 05:24 |
And we need to adjust the videos
themselves too because I want to
| | 05:27 |
introduce another video before Earth.
So, I'm going to grab Earth and I'm going
| | 05:32 |
to change it's duration to just five
seconds.
| | 05:35 |
And I'm going to do that just by dragging
the endpoint, here, because, after all,
| | 05:38 |
it doesn't really matter where this movie
starts.
| | 05:42 |
And I'll take it over until I see the
duration value is five seconds, in the
| | 05:45 |
upper right corner of that preview And
the start point is ten seconds.
| | 05:50 |
All right, now having done that so that
all the movies are five seconds, except
| | 05:54 |
for water which got extended for the
fade, I'll go ahead and shift click on
| | 05:58 |
water here inside the layers panel just
so that I make sure that I have all four
| | 06:01 |
movies selected and then I'll go ahead
and scoot over here and I want earth to
| | 06:05 |
start at exactly 11 seconds.
So I'll just go ahead and right-click on
| | 06:14 |
the play head, choose Go to Time and
enter 11:00, and then I'll drag this guy
| | 06:18 |
over like so until it snaps into
alignment.
| | 06:23 |
And that's going to move all the movies
over, so that at this point "Water"
| | 06:27 |
should end at 31 seconds, which it does.
All right.
| | 06:31 |
Now, let's move the text overlays.
I'll go ahead and click on Earth and I
| | 06:34 |
want to make sure that I select all of
these guys here.
| | 06:38 |
But I don't want to be sloppy about it.
I want to make sure that I'm selecting
| | 06:42 |
exactly the right layers.
And they are in a row.
| | 06:44 |
So I'll click on earth and Shift click on
water in order to select those guys.
| | 06:48 |
And then I want to move earth over until
it starts at 12 seconds.
| | 06:52 |
So I'll just press Shift + Down Arrow.
In order to advance my playhead to
| | 06:57 |
exactly 12 seconds.
And then I'll drag this guy over, like
| | 07:00 |
so.
And it looks like Starring wants to be
| | 07:03 |
moved over just a little bit, as well.
Looks like I ended it a little bit early.
| | 07:08 |
So this way, Starring and Earthtone
overlap each other, which I think will
| | 07:11 |
look better.
And so, as a result, water ends at 28
| | 07:15 |
seconds which is exactly what I'm looking
for.
| | 07:19 |
Alright, now let's take a look at what
we've done.
| | 07:21 |
We'll press the Home key to go back to
the beginning.
| | 07:24 |
And i'll play the movie from the
beginning and we can see the attack on
| | 07:28 |
elements and then later we'll see if
we're hitting that mumbly guy just to
| | 07:31 |
Earth mostly to Earth he overlaps ever so
slightly in the air and if we're getting
| | 07:35 |
the titles for air, fire, and water on
the beat.
| | 07:40 |
Alright so I'll go ahead and press the
space bar.
| | 07:42 |
A Generic Ideas Production.
| | 07:50 |
(MUSIC)(INAUDIBLE)(MUSIC)
| | 07:59 |
All right, it looks like we got ourselves
a movie with one obvious problem.
| | 08:27 |
I'll press Home to go back to the
beginning, and I'll advance the Play Head
| | 08:31 |
to this area.
While we're looking at the word starring
| | 08:34 |
sort of drifting downward, we have
nothing else going on.
| | 08:38 |
And I've got another video slated for
this spot, it's that Win Video that we
| | 08:42 |
saw at the outset of the chapter and I'm
going to show you how to introduce it,
| | 08:46 |
because introducing another video into an
existing track is a little bit tricky in
| | 08:51 |
the next exercise.
| | 08:55 |
| | Collapse this transcript |
| Adding a video clip to the start of a track| 00:00 |
In this movie, I'll show you how to
introduce a fifth video clip, and I want
| | 00:04 |
it to appear at the beginning of our
movie, which is a little bit tricky as
| | 00:07 |
you're about to see, but we'll ultimately
get it to work.
| | 00:12 |
So, first things first, I'm going to move
the playhead all the way back to the
| | 00:15 |
beginning of the movie by pressing the
Home key.
| | 00:19 |
And generally speaking, that playhead
tells things where to land.
| | 00:23 |
Now I'll click on the Plus button on the
far right side of the movies track, in
| | 00:27 |
order to bring up the Add Clips dialog
box.
| | 00:30 |
And then I'll go to the Media Files
folder here.
| | 00:32 |
And select Fotolia_wind.mov.
And then click on the Open button in
| | 00:37 |
order to introduce that movie.
And unfortunately, it arises at the top
| | 00:42 |
of the layer stack where the movie group
is concerned as you can see right here.
| | 00:48 |
And that means it appears at the end of
our video.
| | 00:51 |
We can drag it to the very beginning, but
that would be more than awkward.
| | 00:56 |
The easier thing to do, if you want to
achieve that effect, is to drag the movie
| | 00:58 |
down to the bottom of the list, here
inside the Layers panel.
| | 01:02 |
And that is going to move that movie to
the beginning, but it's going to mess
| | 01:06 |
everything up.
It's going to start at 11 seconds, which
| | 01:10 |
is where the earth clip used to start.
And it's going to shove everybody else
| | 01:14 |
over, as you're seeing here.
That's certainly not what I want.
| | 01:17 |
So I'll press Ctrl+Alt+Z, Ctrl+Alt+Z.
That would be Command+Option+Z,
| | 01:22 |
Command+Option+Z, twice in a row, in
order to undo that change.
| | 01:25 |
And then, I'll go ahead and scroll to the
beginning once again.
| | 01:29 |
And, what we'll do is we'll start off
with a new track.
| | 01:33 |
So I'll click on this little filmstrip
icon for the Movies track, and I'll
| | 01:36 |
choose New Video Group.
Not from clips, because that would grab
| | 01:40 |
any selected clips and put them in this
group.
| | 01:42 |
We're just going to create an empty
group, and then, with this new group
| | 01:45 |
selected, there's no point in naming it
because we're not going to keep it.
| | 01:49 |
Go ahead and click on the Plus button and
grab that Fotolia_wind movie again and
| | 01:52 |
click on the Open button, and that will
go ahead and add that guy at this
| | 01:55 |
position.
Now, I just happen to know that I want
| | 01:59 |
the, this movie to last for 6 seconds.
So I'll go ahead and drag the endpoint,
| | 02:05 |
so that the end and the duration, in that
little preview, are both showing 6
| | 02:08 |
seconds even.
And then, I'll drag and drop this movie
| | 02:13 |
into the movies track, and now it comes
in safe and sound as you see here.
| | 02:18 |
All right, now, I can go back to video
group 1, click on it's filmstrip icon,
| | 02:22 |
and choose delete track in order to get
rid of it.
| | 02:26 |
Alright, now let's move this guy over so
that he's adjacent to the earth movie,
| | 02:30 |
like so, and then go ahead and
right-click inside of the opening fade
| | 02:33 |
for the earth movie and click on its
trash can to get rid of it.
| | 02:39 |
So the earth movie should still be 5
seconds long, and it is.
| | 02:42 |
Alright, great.
Now then, we want to create a crossfade
| | 02:45 |
between these two movies.
So click on a Transition icon, and grab
| | 02:50 |
crossfade and drag it and drop it onto
the seam between those two movies, and
| | 02:54 |
also go ahead and create an initial fade
at the outset of the Fotolia_wind movie,
| | 02:58 |
like so.
Alright, now we can hide that panel.
| | 03:04 |
Now, I need to make sure everything's
where it's suppose to be, it isn't quite,
| | 03:08 |
so I'm going to right-click on the
playhead and choose Go to Time and change
| | 03:11 |
it to 6 seconds like so, and then click
OK.
| | 03:16 |
And now, I'll go ahead and click on the
water clip here inside the Layers panel,
| | 03:19 |
and Shift+Click on Wind, so all those
movies are selected and I'll drag this
| | 03:23 |
guy over until it snaps into place at 6
seconds.
| | 03:28 |
And now, we need to check our work.
With any luck, the wind video goes from 6
| | 03:31 |
seconds to 12 seconds, which it does.
And then the earth clip goes from 11 to
| | 03:36 |
16.
Good.
| | 03:37 |
The air clip goes from 15 to 20.
That's awesome.
| | 03:41 |
We'll just scroll over using my scroll
wheel here by Control scrolling down,
| | 03:44 |
that's Command scrolling down on the Mac.
I'll click on this guy, he goes from 19
| | 03:49 |
to 24, every things where it's supposed
to be, and then finally, water should go
| | 03:53 |
from 23 to 31, and sure enough, it does.
And so, I think folks, that we have
| | 03:58 |
ourselves a functioning movie.
But the only way to know for sure is to
| | 04:02 |
go ahead and render it out.
So I'll click on the Render Video button
| | 04:06 |
in order to bring up the Render Video
dialog box.
| | 04:09 |
And I'm going to call this guy the
Elements Movie, because that's what it
| | 04:12 |
is.
All the settings should be the same as
| | 04:15 |
before.
So I'm just going to go ahead and click
| | 04:16 |
on the Render button.
Now, I've already created such a movie in
| | 04:19 |
advance.
But I'm going to go ahead and create it
| | 04:21 |
again now, just to make sure that I've
done everything right in front of you.
| | 04:25 |
We'll go ahead and speed up this progress
bar, because that's no fun to look at.
| | 04:30 |
Alright, and now, let's go and switch
over to the bridge by going up to the
| | 04:33 |
File menu and choosing the Browse in
Bridge command.
| | 04:37 |
And you should see a file listed almost
last in alphabetical order called the
| | 04:41 |
Elements movie.
I'll go ahead and double-click on it in
| | 04:44 |
order to open it inside the Windows Media
Viewer, and let's switch to fullscreen,
| | 04:49 |
so that we can get a real sense of what's
going on.
| | 04:54 |
>> A Generic Ideas Production.
| | 05:08 |
(MUSIC).
| | 05:12 |
Live today at Lynda.com/deke.
(MUSIC).
| | 05:27 |
>> And sure enough it looks like we got the
| | 05:29 |
results we were hoping for.
A good-looking movie that matches its
| | 05:36 |
soundtrack.
| | 05:38 |
| | Collapse this transcript |
| Superimposing video clips with blend modes| 00:00 |
In this movie, I'll show you how to
combine a couple of video clips using a
| | 00:03 |
combination of an adjustment layer and a
blend mode.
| | 00:07 |
And as a result, we'll end up getting
these windmills set against this moving
| | 00:11 |
sky background.
And the idea is that basically, anything
| | 00:15 |
that you can do to a still digital
photograph, you can do to a video layer
| | 00:19 |
inside Photoshop as well.
So here's how it works.
| | 00:24 |
I'll start off by going up to File >
Browse in Bridge or you can press
| | 00:27 |
Ctrl+Alt+O or Cmd+Option+O on the Mac.
And I was showing you at the very first
| | 00:32 |
movie that if you want to combine
multiple sequential video clips that
| | 00:36 |
transition into each other, then you are
better off creating your video file
| | 00:39 |
inside of Photoshop.
But if you want to stack one video on top
| | 00:44 |
of another.
Here's the better way to work.
| | 00:47 |
Go ahead and click on the wind video and
then Ctrl or Cmd+click on the air video
| | 00:51 |
to select them independently of the
others.
| | 00:55 |
And then go up to Tools > Photoshop >
Load Files into Photoshop Layers.
| | 01:00 |
And that'll go ahead and combine those
two movies inside the Layers panel, one
| | 01:05 |
directly on top of the other.
Now, I want the air movie to be below.
| | 01:11 |
So, I'll go ahead and drag it and drop it
below that wind layer.
| | 01:14 |
Notice also if I zoom out here that you
can see that the air movie is a lot
| | 01:18 |
longer than the wind movie.
So, I'm going to go ahead and cut it down
| | 01:22 |
a little bit by dragging its right side.
And I'm ultimately going to take the
| | 01:26 |
duration value down to 13 seconds and 14
frames as you see at the top of that
| | 01:30 |
preview.
Next, I'll go ahead and add a couple of
| | 01:34 |
transitional effects.
So, I'll click on the Transition icon
| | 01:37 |
right there.
And I want the movie to fade in from
| | 01:39 |
white and then fade out to black.
So I'll start with Fade with White and
| | 01:43 |
then I'll change the duration to 2
seconds, because all these fades are
| | 01:46 |
going to be two seconds long.
Then I'll drag and drop this guy onto the
| | 01:50 |
air movie and I'll grab Fade with Black
and drag and drop him at the end of that
| | 01:54 |
movie.
And then, I'll go ahead and press the
| | 01:57 |
Enter key in order to hide that panel.
Now, I'll select the wind video on top.
| | 02:02 |
And notice that my play head is set to
the beginning of the movie.
| | 02:05 |
So, I'll press Shift+Down Arrow twice in
order to advance to 2 seconds, and then
| | 02:09 |
I'll grab the wind movie and just drag it
to that 2 second spot.
| | 02:14 |
All right.
And now to create the blend, all I'm
| | 02:16 |
going to do is change the blend mode from
Normal to Overlay.
| | 02:20 |
And we end up with this effect here.
So, if I start scrolling through the
| | 02:25 |
wind, we end up producing this pretty
interesting effect.
| | 02:30 |
Now, I want it to be a little bit
moodier.
| | 02:32 |
So, I want to add an adjustment layer to
this air clip.
| | 02:36 |
So, just to give you a sense for why,
I'll turn off the wind layer for a moment
| | 02:38 |
and I'll just go ahead and scrub through
this air movie.
| | 02:42 |
And you can see that while it looks
delightful for the purposes of our past
| | 02:45 |
project because it's light and ethereal,
it's not a moody sky in the sense of
| | 02:49 |
being sort of dark and ominous.
And so I'd like to darken it up using an
| | 02:54 |
adjustment layer.
But if I just go ahead and click on that
| | 02:57 |
air layer and then drop down to the black
white icon and choose the adjustment I'm
| | 03:01 |
going to use, which is brightness
contrast, then I end up getting another
| | 03:04 |
track of brightness contrast here inside
the timeline panel which frankly doesn't
| | 03:08 |
make any darn sense.
So, i'll go ahead and hide the properties
| | 03:14 |
panel and I'll press the Backspace key to
get rid of that adjustment layer.
| | 03:18 |
What you need to do is create a new video
groove for this one and only one movie.
| | 03:23 |
And you do that by clicking on the little
film strip icon and choosing New Video
| | 03:27 |
Group from Clips, meaning the selected
clip.
| | 03:31 |
And notice that just ahead and puts air
inside this video group.
| | 03:35 |
And we'll call this dark sky, let's say,
and then I'll click on the air layer.
| | 03:39 |
And this time I'll press the Alt key or
the Option key on the Mac and click the
| | 03:42 |
Black White icon at the bottom of the
panel and choose Brightness/Contrast, and
| | 03:46 |
that way I can go ahead and name this
layer as well.
| | 03:50 |
And so, I'll go ahead and call it darken.
And notice that Use Previous Layer to
| | 03:54 |
Create Clipping Mask is turned on by
default when you're working on a video
| | 03:58 |
clip that's housed inside of a video
group.
| | 04:02 |
And that's Photoshop's way of
acknowledging that you probably only want
| | 04:05 |
to effect one video clip at a time.
So, now I'll go ahead and click OK, and
| | 04:10 |
I'll crank the Contrast value up to 100.
And then I'll take the brightness value
| | 04:15 |
down to negative 50 in order to produce
this effect right here.
| | 04:20 |
Now I'll hide the Properties panel and
I'll turn my wind layer back on.
| | 04:24 |
And now if I go ahead and scrub through
the movie, you can see that we have this
| | 04:28 |
interesting effect.
Now, it's not quite the final effect I"m
| | 04:33 |
going for.
I also want to apply a filter to the wind
| | 04:36 |
movie in order to make it look a little
more haunting.
| | 04:40 |
And that's something I can do by
converting my video clip to a Smart
| | 04:43 |
Object, and I'll show you exactly how
that works in the next movie.
| | 04:49 |
| | Collapse this transcript |
| Applying a Smart Filter to an entire video clip| 00:00 |
In this movie, I'll show you how to
convert a video clip to a smart object so
| | 00:04 |
that you can filter it on a frame by
frame basis.
| | 00:08 |
I'm going to start things off by
switching the Blend Mode for the Wind
| | 00:11 |
Layer back to Normal, because that'll
give us a better sense of what's going on
| | 00:15 |
as we work through this.
Now, notice, that if I have a video clip
| | 00:19 |
selected in the Layers panel, I can go up
to the Filter menu and choose a Filter.
| | 00:25 |
For example, I might dropdown to Stylize
and choose Emboss, if only because it
| | 00:29 |
produces an obvious effect.
And then, I'll dial in some settings like
| | 00:34 |
these, and I'll go ahead and click OK,
and sure enough, I have applied a static
| | 00:38 |
filter effect to this movie.
Problem is, if I press the Right Arrow
| | 00:43 |
key, we can see that I just filtered that
one frame.
| | 00:47 |
So if I press the Left Arrow key, there's
the filtered frame.
| | 00:50 |
Press the Left Arrow key again, there's
the unfiltered image.
| | 00:54 |
So if I wanted to work this way, I'd have
to reapply the filter for every single
| | 00:58 |
frame of the movie, which of course,
would be madness.
| | 01:02 |
So, I'll go ahead and switch back to that
frame, and then, I'll go up to the Edit
| | 01:07 |
menu and choose Step Backward or press
Control+Alt+Z or Command+Option+Z on the
| | 01:11 |
Mac in order to restore the image.
If you want to apply a filter to every
| | 01:17 |
single frame in the movie, then you need
to first convert it into a Smart Object,
| | 01:21 |
and you do that where a movie is
concerned by making sure that the layer
| | 01:24 |
is selected, of course, and then going up
to the Layers panel flyout menu and
| | 01:27 |
choosing Convert to Smart Object.
Or, if you loaded my D key shortcuts, you
| | 01:34 |
could press Ctrl+comma or Command+comma
on the Mac.
| | 01:38 |
Now then, if I go back to the Filter menu
and choose Some Filter, it's not going to
| | 01:41 |
be embossed, because that's too cheesy.
Instead, I'll go ahead and drop down to
| | 01:47 |
the other submenu and choose High Pass.
And, I'll dial in a value of 20 pixels,
| | 01:52 |
and notice that gives me this kind of
weathered, ancient effect here, with
| | 01:55 |
these halos around all the details.
And now I'll go ahead and click OK.
| | 02:01 |
Alright, I don't need the filter mask, so
I'll go ahead and right-click inside this
| | 02:04 |
white thumbnail and choose Delete Filter
Mask.
| | 02:07 |
Now, I'll zoom in on the image just so we
can see that high pass brings with it its
| | 02:11 |
own strange coloring.
I want to get rid of that color, so that
| | 02:15 |
we're seeing a black and white version of
the effect.
| | 02:18 |
And the easiest way to do that is to
click on the effects icon at the bottom
| | 02:21 |
of the Layers panel and choose Color
Overlay, and then, click on the color
| | 02:24 |
swatch to bring up the Color Picker
dialog box.
| | 02:29 |
Take the saturation value down to 0 and
enter a brightness value of 50% for
| | 02:33 |
neutral gray, then click OK.
And now, change the Blend Mode from
| | 02:38 |
Normal to Saturation, so that we're
leaching away all the saturation in the
| | 02:42 |
image.
All right, next what I want to do is I'll
| | 02:46 |
switch to blending options, like so, and
I'll change the Blend Mode from Normal
| | 02:50 |
back to Overlay, so that we're blending
the windmills with the sky in the
| | 02:54 |
background.
Now, the problem is we're leaching the
| | 02:59 |
color out of the background sky as well
which is not what we want to do.
| | 03:03 |
We want to still see that color.
So, go ahead and turn on this check box,
| | 03:06 |
Blend Interior Effects as Group.
And I'll constrain the color overlay
| | 03:11 |
effect to just the active layer.
Then, go ahead and click OK in order to
| | 03:15 |
accept that effect.
And now, let's zoom out a little bit
| | 03:19 |
here.
I'll press Ctrl+0 or Command+0 on a Mac,
| | 03:21 |
and maybe zoom out another click, so
we're seeing this at 50%, which gives us
| | 03:25 |
a better sense of what's going on.
Now, notice that if I scrub through the
| | 03:30 |
video, we are getting this more haunting
combination of the two clips.
| | 03:35 |
Alright, I need to go ahead and add some
fade transitions here.
| | 03:38 |
So, I'll click on the transition icon,
grab fade, and drag and drop it onto the
| | 03:42 |
beginning of the movie.
And notice, my duration value is still
| | 03:46 |
set to 2 seconds, and then I'll drag a
fade onto the end of the movie as well.
| | 03:51 |
Finally, we need a soundtrack of course.
So I'll go ahead and click the Plus
| | 03:55 |
button this time, to the far right side
of the audio track.
| | 03:59 |
And I'll navigate to my Media file
subfolder and I'll select Music Mars
| | 04:03 |
Express, and click Open.
And, it's way too long, as you can see
| | 04:08 |
here, so I'll go ahead and scroll to the
end of it, and then drag it over to the
| | 04:11 |
left, and let it auto-scroll until I see
the end of my Air video, and then I'll
| | 04:15 |
snap it to alignment with it.
Now, I'll click the right pointing
| | 04:20 |
arrowhead.
The volume is way too high on this one,
| | 04:22 |
so I'll take the gain down to 33%.
And then, I'll set the fade out value to
| | 04:27 |
2 seconds, and press the Enter key or the
Return key on a Mac.
| | 04:31 |
Alright, rather than watching the effect
inside Photoshop, let's just go ahead and
| | 04:35 |
render it out by clicking on the little
Render icon in the bottom left corner of
| | 04:39 |
the screen.
And I'm going to call this guy Weather
| | 04:43 |
old windmills, let's say.
And then, click on the Render button, in
| | 04:47 |
order to save the movie out.
And this will be a movie that I provide
| | 04:50 |
for you, even though, I'm building it
here on the fly.
| | 04:53 |
Alright, we're going to speed up the
Progress bar, so we can just cut to the
| | 04:57 |
chase.
Now to watch the movie, I'll go up to the
| | 05:00 |
File menu and choose Browse in Bridge.
And I'll go ahead and locate that new
| | 05:04 |
movie, Weather oldwindmills.mp4.
And I'll open it inside the Windows Media
| | 05:11 |
Viewer.
(MUSIC).
| | 05:14 |
And that, friends, is how you filter an
entire video clip by expressing it as a
| | 05:25 |
smart object inside Photoshop.
| | 05:33 |
| | Collapse this transcript |
|
|
40. High Dynamic RangeMerging multiple exposures in Photoshop| 00:00 |
HDR stands for High Dynamic Range.
And the idea is you take a bunch of
| | 00:03 |
exposures of a single scene, usually
bracketed shots are the easiest way to
| | 00:07 |
go.
And then you merge them together so
| | 00:10 |
you're taking advantage of the best of
all the exposures.
| | 00:14 |
So you open up the shadows with the long
exposure, and you use the short exposure
| | 00:17 |
to calm down the highlights, and so
forth, and you end up with a beautifully
| | 00:20 |
developed scene.
Or at least that's the way it's supposed
| | 00:25 |
to work.
Now, Photoshop's solution is this thing
| | 00:27 |
called Merge to HDR Pro, which does what
it says, it takes multiple exposures and
| | 00:31 |
merges them to an HDR shot.
But, it is not the least bit obvious
| | 00:36 |
what's going on when you first use the
program.
| | 00:40 |
Its very difficult to get good results.
Which is why I decided my job, for this
| | 00:44 |
chapter, was to get to the bottom of this
darn thing.
| | 00:48 |
So we're going to get quite technical, by
the way, which I think is only right in
| | 00:51 |
that this is a mastery level course.
And, along the way, I'll show you how to
| | 00:57 |
create this truly, nicely-developed I
think, HDR landscape shot right here.
| | 01:03 |
And I'll also show you how to fake it in
Camera RAW, because you can get about 75%
| | 01:07 |
the way there with a lot less pain.
And then I'll show how to fool HDR Pro
| | 01:13 |
into thinking you have multiple exposures
when you really only have one.
| | 01:17 |
And then I'll show you how to create an
HDR portrait shot, which is also
| | 01:21 |
possible, look at me here, as long as
your subject can remain absolutely still
| | 01:25 |
for three rapid fire exposures.
Here, let me show you really truly
| | 01:32 |
exactly, how it works.
| | 01:36 |
| | Collapse this transcript |
| Automatically aligning bracketed photographs| 00:00 |
In this movie I'll show you how to ensure
that Photoshop, along with HDR Pro, goes
| | 00:03 |
ahead and automatically aligns bracketed
shots that were captured with a handheld
| | 00:08 |
camera, in other words, without the
assistance of a tripod.
| | 00:13 |
And this is just the step that you have
to perform up-front, just to make sure
| | 00:16 |
everything's working as you'd expect it
to.
| | 00:20 |
So I've got open two images here,
Flagstaff bracketed One.Jpeg and
| | 00:24 |
Flagstaff bracketed Five.Jpeg, both found
inside the Jpeg sub folder.
| | 00:30 |
And there both extreme exposures, on
opposite ends of a five shot bracketed
| | 00:34 |
sequence.
But you can see, because I was hand
| | 00:37 |
holding the camera, that there not quite
in alignment with each other.
| | 00:42 |
So this is the lowest exposure shot here
and this is the highest exposure shot
| | 00:45 |
there, and you can see that things shift
a little bit on screen.
| | 00:49 |
If we were to align the photographs, as
we merge them into HDR, then of course
| | 00:53 |
things would be a mess.
So here's how to make sure that they are
| | 00:57 |
aligned by default, you go up to the File
menu, here inside Photoshop, and then you
| | 01:01 |
choose Automate, and finally, choose
Merge To HDR Pro.
| | 01:06 |
And then you'll get this Dialogue Box
right here, which asks you what images
| | 01:10 |
you want to merge, go ahead and click on
Add Open Files if you're working along
| | 01:13 |
with me.
And then make sure this check box is
| | 01:17 |
turned on, it is by default, later we'll
be turning it off, I just want you to be
| | 01:20 |
aware that it's here.
Attempt to automatically align source
| | 01:25 |
images, that's very important for this
project.
| | 01:28 |
Then go ahead and click Okay.
And you'll see Photoshop performing the
| | 01:32 |
merge in the background.
So what it's doing is creating a
| | 01:35 |
separate, independent file that contains
both of those images.
| | 01:39 |
And now notice, that its gone ahead and
merged those images, and if I press
| | 01:43 |
Ctrl+1, or Cmd+1 on a Mac, to zoom in to
100%, you can see that the shots are now
| | 01:47 |
aligned with each other.
We're not seeing any sort of double
| | 01:52 |
exposure effect on screen.
Another thing I want you to note, here
| | 01:57 |
inside the Merge to HDR Pro dialogue box,
is that 100% isn't really the 100% view
| | 02:01 |
size, in other words, it's not pixel
accurate, it's a proxy.
| | 02:07 |
After all, this is a 22 megapixel image,
so there are tons of pixels that we're
| | 02:10 |
not seeing and that's something you have
to be well aware of.
| | 02:15 |
Now there's a good reason for this, which
is the fact that if Photoshop were to
| | 02:18 |
really provide you with an accurate
preview, then it'd be very difficult to
| | 02:21 |
get any work done, things would progress
extremely slowly.
| | 02:26 |
On the other hand, it is something you
have to be aware of, because what it
| | 02:30 |
means is that you have to pay extremely
careful attention to the details inside
| | 02:33 |
of this preview.
Now there's all kinds of settings going
| | 02:38 |
on over here on the left side of the
dialogue box, we'll be reviewing those
| | 02:41 |
over the course of future movies but for
now I just want you to make sure that
| | 02:44 |
mode is set to 16 bit, and that we're
working in local adaptation.
| | 02:49 |
Then go ahead and click Okay in order to
generate the merged HDR image.
| | 02:54 |
Now this might take a few moments to
complete, because after all this is a
| | 02:58 |
pretty intensive operation, but a moment
or two later you should see the merged
| | 03:02 |
HDR image on screen.
Now notice that Photoshop has gone ahead
| | 03:08 |
and merged those photographs into a
single flattened image file.
| | 03:12 |
So what that means is we can't go back
and revisit our HDR settings in the
| | 03:15 |
future, so you really have to spend a
fair amount of attention getting it right
| | 03:19 |
in the first place.
This is not for example, an operation
| | 03:24 |
that you can apply as an edible smart
filter.
| | 03:27 |
Now, assuming that you want to go ahead
and save off this file, either as a TIFF
| | 03:31 |
or Jpeg image, then what I recommend you
do, to keep your file size smaller, is to
| | 03:34 |
go up to the Image menu, choose Mode and
switch to 8 Bits Per Channel.
| | 03:40 |
That's going to cut the file size in
half, and by the way, at this point,
| | 03:43 |
because the images are merged, there's
really no point in sticking with 16 bits,
| | 03:47 |
so go ahead and switch to 8 bits per
channel.
| | 03:51 |
And then if you like, save out your file.
So there you have it, we've managed to
| | 03:55 |
save our first HDR composition.
Not really not all that impressive to
| | 03:59 |
look at so far, but we have managed to
tell Photoshop to automatically align our
| | 04:03 |
bracketed photographs in the future.
In the next movie, I'll show you how to
| | 04:09 |
prepare raw digital photographs for HDR
Pro.
| | 04:13 |
| | Collapse this transcript |
| Preparing bracketed photos in Camera Raw| 00:00 |
In this movie I'll show you how to take a
group of bracketed photographs, that is a
| | 00:04 |
series of auto exposures captured using a
digital SLR and then prepare them for use
| | 00:09 |
in Photoshops and HDR pro.
And this assumes by the way that you
| | 00:14 |
captured the images to your digital
camera's raw file format.
| | 00:18 |
If your working along with me the first
step is to go up to the file menu and
| | 00:21 |
choose browse in bridge.
Or press Ctrl+Alt+O, or Cmd+Option+O on
| | 00:26 |
the Mac.
And then, steer the bridge to this
| | 00:29 |
Flagstaff photo sub folder, which
contains a series of five bracketed
| | 00:33 |
shots, which I captured using a Canon EOS
5D.
| | 00:37 |
And then you want to press control A, or
command A on the Mac to select all the
| | 00:41 |
images.
Then right-click on any one of them and
| | 00:44 |
choose Open In Camera Raw in order to
bring up the Adobe Camera Raw interface.
| | 00:49 |
Then click on the Select All button or
press Ctrl+A or Cmd+A on a Mac in order
| | 00:53 |
to select all five of the thumbnails.
Now, where these images are concerned,
| | 00:59 |
the darkest exposure appears first, and
the lightest exposure appears at the end.
| | 01:04 |
The medium exposure, therefore, appears
right in the middle here.
| | 01:07 |
So, in order to see that image on screen,
I'll Alt click or Option click in the
| | 01:11 |
thumbnail for Flagstaff bracket of
three.dng.
| | 01:16 |
Now at this point, you can make any
modifications you want here inside the
| | 01:19 |
basic panel.
I'm actually happy with this shot as is,
| | 01:22 |
so I'm not going to make any
modifications here.
| | 01:25 |
Instead, I'm going to switch over to the
Detail panel.
| | 01:28 |
And I'm going to zoom in on a portion of
the tree right here, by dragging it
| | 01:31 |
around, like so, with this Zoom tool.
And then I'll zoom in just a little
| | 01:36 |
further by clicking on screen.
So that I can see these chromatic
| | 01:39 |
aberrations that are showing up here
inside the tree.
| | 01:43 |
To exaggerate those aberrations just so I
can keep an eye on em here, I'm going to
| | 01:47 |
crank the amount value up to 150, which
is the maximum.
| | 01:51 |
And I'm going to take the radius value up
to it's maximum as well, which is 3.
| | 01:57 |
And then I'm going to take the detail
value, which isn't really serving any
| | 02:00 |
purpose here, down to 0.
That way I can just keep track of those
| | 02:04 |
aberrations that you see there.
You also want to apply some noise
| | 02:08 |
reduction.
Now this is a pretty low noise camera,
| | 02:11 |
however any noise that occurs inside your
photographs is going to get exaggerated
| | 02:16 |
like crazy during the HDR process.
So let's go ahead and crank the luminance
| | 02:21 |
value up to 50 and these are values I
recommend.
| | 02:24 |
You just go ahead and apply across the
board to your images.
| | 02:27 |
So luminance 50, the default luminance
detail setting of 50 is just fine.
| | 02:31 |
You might want to take that down a little
bit if you have a high noise image that's
| | 02:35 |
going to work well for these photos.
Then I'm going to take the luminance
| | 02:39 |
contrast value up to 25.
Now we have to perform some lens
| | 02:43 |
corrections.
So go ahead and click on the Lens
| | 02:46 |
Corrections tab here, in order to switch
to this panel.
| | 02:50 |
Make sure the Profile tab is up on
screen.
| | 02:52 |
And then just turn on Enable Lens Profile
Corrections.
| | 02:56 |
And that will automatically address any
lens distortion, as well as any
| | 02:59 |
vignetting that.
That are associated with this lens
| | 03:03 |
profile.
Next, go ahead and switch over to the
| | 03:05 |
Color panel and turn on Remove Chromatic
Aberration.
| | 03:08 |
And keep an eye on the colorful edges
onscreen here.
| | 03:11 |
Notice we've got a little bit of purple
around this area, and then we've got some
| | 03:14 |
kind of greenish highlights over here.
As soon as you turn on that remove
| | 03:19 |
Chromatic Aberration check box Box, they
will almost entirely disappear.
| | 03:23 |
There is an area of the image, however,
that still has some aberrations.
| | 03:27 |
I'm going to press control zero, or
command zero on the Mac, to zoom out.
| | 03:31 |
And then, I'm going to drag around on
this region right here in order to zoom
| | 03:35 |
in on it.
So we're looking at the lower, right
| | 03:38 |
corner of the photograph.
And I'm going to zoom in a little farther
| | 03:41 |
so we can see this footprint right here.
Maybe I'll zoom in just a little more.
| | 03:45 |
So, I'm looking at the footprint at the
300% view size.
| | 03:48 |
And you may notice that we still have
some purple edges around this rock, for
| | 03:51 |
example, as well as a few green edges.
And again, these sorts of aberrations are
| | 03:56 |
going to magnify as soon as we apply HGR
Pro.
| | 03:59 |
So what I recommend you did is just max
out the purple amount values, so take it
| | 04:02 |
up to 20.
And the max out the green amount value as
| | 04:06 |
well.
You don't need to worry about purple hue
| | 04:08 |
or green hue.
Leave those alone.
| | 04:10 |
Just go ahead and max out those two
values and then switch back to the Detail
| | 04:13 |
panel.
And crank the sharpening amount value
| | 04:16 |
down to its absolute minimum which is
zero.
| | 04:20 |
That way, we're not applying any
sharpening artifacts, before we bring the
| | 04:23 |
images into HDR Pro which is very
important.
| | 04:27 |
Now what you want to do is go ahead and
click on the done button in order to
| | 04:30 |
apply your camera RAW changes and return
to bridge.
| | 04:34 |
And those friends are the necessary
steps, namely noise reduction as well as
| | 04:38 |
lens correction, required to prepare your
RAW bracketed photographs for use in
| | 04:44 |
Photoshops HDR Pro.
| | 04:47 |
| | Collapse this transcript |
| Introducing the HDR Pro command| 00:00 |
In this movie, I'll introduce you to the
various options associated with HDR Pro.
| | 00:05 |
I'm once again working inside Bridge, and
I have the program trained on the
| | 00:08 |
contents of the Flagstaff Photos
subfolder.
| | 00:11 |
I've got these five bracketed images that
I modified in the previous movie.
| | 00:15 |
To merge them, press Ctrl A, or Cmd A on
a Mac, to select all five thumbnails.
| | 00:20 |
Then, go up to the Tools Menu, choose
Photoshop, and choose Merge to HDR Pro.
| | 00:26 |
And that'll go ahead and switch you over
to Photoshop, at which point the program
| | 00:30 |
will begin merging the various
photographs into a single composition.
| | 00:34 |
Now this will take a few moments in order
to finish, by the way, as much as a
| | 00:37 |
minute or more.
And you can see that Photoshop is
| | 00:40 |
interpreting each raw image
independently.
| | 00:44 |
Now, you don't have to work with raw
photographs when merging to HDR Pro, but
| | 00:48 |
it will give you the best results.
At some point, you may see a progress bar
| | 00:53 |
telling you that Photoshop is
automatically aligning the various
| | 00:56 |
photographs, but you will not get a
dialogue box asking you to do so.
| | 01:00 |
That only shows up when you choose the
Merge to HDR Pro command inside
| | 01:04 |
Photoshop, as opposed to from the Bridge,
which is why we had to perform that step
| | 01:08 |
a couple of movies ago.
Now we can see all five of the
| | 01:12 |
photographs represented as thumbnails
down here in the bottom left corner of
| | 01:16 |
the screen.
We also see these relative exposure
| | 01:20 |
values.
Starting with 0, down here in the center,
| | 01:22 |
and then negative values over to the
right for the darker exposures, and
| | 01:26 |
positive values over here to the left for
the lighter exposures.
| | 01:32 |
Notice that you can turn on these little
green check boxes here in order to remove
| | 01:35 |
one of the photographs from the equation.
It may or may not make much of a
| | 01:40 |
difference for the preview.
However, you will notice different
| | 01:43 |
results once you start tweaking the
values over here on the right side of the
| | 01:47 |
dialog box.
And notice that you can take the number
| | 01:51 |
of exposures down to just two, as we're
seeing here, but you can't go any lower.
| | 01:56 |
HDR Pro requires at least two
photographs.
| | 02:00 |
In any case, I'm going to go ahead and
turn all five of them back on, so that I
| | 02:03 |
have all of my exposures to work with.
Now notice up here that Mode is by
| | 02:08 |
default set to 16 bit.
That's the way you want it, even though I
| | 02:12 |
was telling you in that first movie that
you will eventually want to convert the
| | 02:15 |
image to 8 bits of data per pixel per
channel.
| | 02:18 |
You want to start with 16 bit, inside of
this dialogue box, to get the best
| | 02:22 |
results.
Most likely, you don't want to step it up
| | 02:25 |
to 32 bit, because if you do that, you're
going to get a single slider underneath
| | 02:29 |
this histogram, and it's just really not
going to do you much good.
| | 02:34 |
You're not going to get the full HDR Pro
experience.
| | 02:36 |
So I'll go ahead and switch back to 16
bit.
| | 02:40 |
Notice that you also have four different
ways to generate an HDR image.
| | 02:44 |
So if you like, you can switch to
Equalized Histogram, like so.
| | 02:47 |
Or you could try out Highlight
Compression, though its very doubtful
| | 02:50 |
that that's going to do any good for you.
Notice, neither of those options provide
| | 02:55 |
you with any selective control.
For the simplest experience, you want to
| | 02:59 |
choose Exposure and Gamma, and then
you'll get these two sliders right there,
| | 03:03 |
which are fairly self-evident.
Obviously, if I crank up the Exposure
| | 03:08 |
value I'm going to get a brighter image.
The Gamma value is a little bit upside
| | 03:12 |
down.
So a higher value's going to darken the
| | 03:15 |
image, and a lower value, a value below
1, is going to brighten the image.
| | 03:19 |
So it's exactly the opposite experience
you may be used to from, for example, the
| | 03:23 |
Levels command.
But for the best results, you want to
| | 03:27 |
leave this option set to Local
Adaptation.
| | 03:30 |
You also have a handful of Presets that
you can choose from.
| | 03:33 |
For example, if you want a high contrast
photorealistic look, you can choose this
| | 03:37 |
effect right there.
I'm going to switch over, not because
| | 03:41 |
it's the best setting, just because it's
illustrative for our purposes, I'm
| | 03:44 |
going to switch over to Surrealistic, so
that we have some very obvious effects
| | 03:48 |
occurring on-screen here.
And then, I'm going to zoom in by
| | 03:53 |
pressing Ctrl 1, or Cmd 1 on the Mac, and
then I'll just go ahead and Space Bar
| | 03:57 |
drag the image over to the right a little
bit, so that I can see the area around
| | 04:00 |
this tree.
All right.
| | 04:03 |
So there's the most basic of all possible
introductions to HDR Pro.
| | 04:07 |
In the next movie, I'll show you how the
specific numerical settings work.
| | 04:12 |
| | Collapse this transcript |
| How the HDR Pro settings work| 00:00 |
In this movie, I'll show you how to work
with the various numerical settings
| | 00:03 |
associated with HDR Pro.
Now frankly, they're kind of a weird
| | 00:06 |
bunch.
They take some time to get used to, but
| | 00:09 |
with enough experimentation, you can
achieve some really great results.
| | 00:13 |
I'll start things off at the top here
with the Radius value, which works just
| | 00:17 |
like the Radius associated with Smart
Sharpen and High Pass and the other
| | 00:20 |
filters.
That is to say, it generates halos.
| | 00:25 |
And so at this very high setting of 495
pixels which is associated with this
| | 00:29 |
realistic preset we end up getting these
huge halos around the tree.
| | 00:34 |
To reduce the size of those halos you
just need to reduce the Radius value.
| | 00:39 |
The Strength value adjusts the contrast
associated with the halos.
| | 00:43 |
So for example, best way to understand it
is in the context of this Detail value
| | 00:47 |
down here.
Notice if I reduce the Detail value to
| | 00:51 |
just above zero, then we end up with a
little bit of luminance detail inside the
| | 00:56 |
image.
If I reduce that detail value to below
| | 01:01 |
zero, we end up with next to no luminance
detail.
| | 01:06 |
In which case we're really just seeing
the color values inside the image.
| | 01:10 |
I'll go ahead and crank that back up to
say something around 100 for example.
| | 01:14 |
Compare that behavior to the Strength
value which rather than affecting
| | 01:18 |
luminance detail affects the halos
themselves.
| | 01:22 |
So notice if I crank that strength value
all the way to its maximum, which is
| | 01:25 |
four, then we're seeing these bright
halos around the tree.
| | 01:29 |
If I reduce the strength value, something
like 0.45, then I lose the halos around
| | 01:34 |
the edges.
So, typically, the way that you want to
| | 01:38 |
work is you either crank up the Strength
value or the Detail value, but not both.
| | 01:44 |
So if you're working with a low Strength
value you can afford to crank up the
| | 01:47 |
Detail value to something higher like so.
Or if you're working with low Detail
| | 01:52 |
value, presumably something above 0% so
that you have some luminance information
| | 01:56 |
inside the image, now you can crank the
Strength value up to something higher.
| | 02:02 |
And still achieve halfway decent effects.
Now the Exposure slider is pretty self
| | 02:06 |
explanatory.
If you want a brighter image you crank it
| | 02:09 |
up, if you want a darker image you go
ahead and crank it down like so.
| | 02:14 |
For purposes of this demonstration I'll
go ahead and reset it to zero.
| | 02:17 |
The Gamma value's a little trickier.
What's happening is, if you reduce the
| | 02:22 |
Gamma value to something below one.
You're reducing the contrast of the
| | 02:26 |
image, if you increase the Gamma value to
something above one, then you're
| | 02:30 |
increasing the contrast dramatically as
you can see here.
| | 02:35 |
Under other situations depending on how
the other numerical values are set then
| | 02:39 |
Low Gamma values may end up brightening
the image and High Gamma values.
| | 02:44 |
May end up darkening the image, so that's
just something to bear in mind.
| | 02:48 |
Next, we'll move down to the so-called
Advanced options.
| | 02:51 |
The Shadow value allows you to control
the brightness of the shadows.
| | 02:55 |
So if I increase the Shadows value, for
example, I brighten up the shadows on the
| | 02:58 |
sides of these rocks.
Highlights just affects the highlights.
| | 03:02 |
So if I were to increase the highlights
value like so, then I would bring out an
| | 03:06 |
awful lot of highlights in the sky.
If I reduce those values, then I would
| | 03:11 |
darken up the highlights as well as
reduce the overall contrast inside the
| | 03:14 |
image.
Vibrance and Saturation work just as they
| | 03:18 |
do with the Vibrance adjustment layer
inside Photoshop.
| | 03:22 |
That is, to say you can increase the
Vibrance value to modify saturation
| | 03:26 |
levels on the selective basis inside the
image.
| | 03:29 |
If you want to increase the overall
saturation, then you would increase the
| | 03:33 |
Saturation value, instead.
Finally, we have a couple of checkboxes
| | 03:38 |
in the form of Remove Ghosts and Edge
Smoothness.
| | 03:41 |
I'm going to go ahead and zoom in on this
tree once again.
| | 03:44 |
Now, the idea behind Remove ghosts, is if
there's any movement in your scene which
| | 03:48 |
can be pretty common, by the way, even if
you're working with a tripod, because
| | 03:52 |
there may be wind, for example, that's
blowing trees around.
| | 03:57 |
There may be ripples in water.
There may be people wandering around in
| | 04:01 |
the background, and those are going to
transform into weird artifacts inside of
| | 04:06 |
HDR Pro.
To get rid of those artifacts, turn on
| | 04:09 |
the Remove ghosts checkbox, and any time
that you're working with handheld shots
| | 04:13 |
like these here.
I recommend that you go ahead and turn
| | 04:17 |
that checkbox on.
Even if it doesn't seem to make much of a
| | 04:20 |
difference, as in the case of this image,
it's still going to serve you well.
| | 04:25 |
Next, we have Edge Smoothness.
And what that does is it boosts the halos
| | 04:29 |
around the edges as well as smooth over
artifacts.
| | 04:33 |
And so in our case, if I turn on the Edge
Smoothness checkbox, we can see that
| | 04:35 |
we've got smoother edges.
Around the outlines of the tree, and you
| | 04:39 |
may end up with smoother edges inside of
the rocks as well.
| | 04:43 |
So that's how all of the numerical
settings inside of the HDR Pro dialog box
| | 04:47 |
work.
In the next movie, I'll show you how to
| | 04:50 |
apply the settings in order to create a
highly detailed photographic effect.
| | 04:56 |
| | Collapse this transcript |
| Dramatically increasing the detail in a photo| 00:00 |
In this movie, I'll show you at least one
way to achieve a highly detailed
| | 00:04 |
photographic effect using HDR Pro.
I'm going to start things off here by
| | 00:10 |
switching my Preset back to Default,
which will go ahead and wipe out most of
| | 00:13 |
the values.
And then I went ahead and zoomed in on
| | 00:17 |
the upper left portion of the photograph
and I start things off by cranking up the
| | 00:21 |
detail value to an amount that shows off
the rocks nicely without taking it up too
| | 00:25 |
high.
And I decided that happened at about
| | 00:30 |
150%.
And obviously, these are a group of
| | 00:32 |
values that just happen to work best for
this specific composition.
| | 00:37 |
Then I decided to increase the contrast
of the image by taking up the Gamma value
| | 00:41 |
to 2.0, which requires you to drag the
slider triangle to the left in order to
| | 00:44 |
create this effect right here.
The exposure looks good to me, so I left
| | 00:50 |
it set to zero.
All right.
| | 00:52 |
I’m going to zoom in a little farther
here, so I can evaluate the edges inside
| | 00:56 |
of the image.
And, the first thing I did was to turn on
| | 00:59 |
edge smoothness.
Just to go ahead and emphasize the edges
| | 01:03 |
and smooth out some of the artifact in
details.
| | 01:06 |
I also turned on Remove Ghost.
Again, that doesn't make a big different
| | 01:10 |
where this image is concerned but because
these are hand held shots, it's the
| | 01:14 |
safest way to work.
Then I cranked up the strength value
| | 01:18 |
until I could start to see the edges.
And you can see its 0.98.
| | 01:23 |
We have some very obvious halos inside
the image.
| | 01:27 |
So, I went ahead and took that value down
and I ultimately arrived at a value 0,65.
| | 01:33 |
Then, I also went ahead and took the
radius value down to something more
| | 01:37 |
indicative of a standard sharpening
value.
| | 01:40 |
And I finally arrived at a radius of 10
pixels.
| | 01:42 |
And, by the way, you can nudge these
values from the keyboard by pressing the
| | 01:46 |
Up and Down Arrow keys.
Next, I'll go ahead and scroll over, so I
| | 01:50 |
that I can see the shadows on the side of
these rocks.
| | 01:54 |
And I experimented with increasing the
shadow value to something pretty high,
| | 01:57 |
but to my eye that just looks wrong.
I'll go ahead and zoom out here, so I can
| | 02:01 |
take in more of the image at a time.
So, I took that Shadow value to just a
| | 02:05 |
little bit above zero, specifically 10%,
as you see here.
| | 02:09 |
And then, tab down to the Highlight value
and take it down to negative 15 degrees
| | 02:14 |
to darken up the highlights ever so
slightly.
| | 02:18 |
Then, I boosted the Vibrance value up to
50%, to bring out some of the color
| | 02:22 |
inside of the rocks.
And I left the Saturation value set to
| | 02:27 |
20%, in order to produce this effect
here.
| | 02:31 |
Now it may end up looking overly sharp in
the preview but it's going to reconcile,
| | 02:34 |
well, as soon as we click OK.
But before you do that, because this is
| | 02:38 |
an absolutely static operation and you
decide you don't like the way things look
| | 02:42 |
after you click the OK button, you're
going to have to start the process over.
| | 02:47 |
So, it's a good idea to always go ahead
and save out your settings as a custom
| | 02:50 |
preset and you do that by clicking on
this top flyout menu icon and choosing
| | 02:54 |
the Save Preset command.
Now, I've already done that in advance,
| | 02:59 |
in my case, which is why down here at the
bottom of the Preset menu, I now have an
| | 03:03 |
option called High-Detail Photo.
And so from now on, I can go ahead and
| | 03:08 |
reload my settings just by selecting that
option.
| | 03:12 |
Now, that I'm somewhat protected here,
I'll go ahead and click OK in order to
| | 03:15 |
apply these modifications to the image,
at which point, if you're working along
| | 03:19 |
with me, you'll end up seeing a progress
bar on screen.
| | 03:24 |
And then, you'll be deposited back inside
of Photoshop and your image will
| | 03:27 |
ultimately arrive on screen.
And you can see, as I mentioned at the
| | 03:31 |
onset of the chapter, we have a flat
image as indicated by the background
| | 03:34 |
item, here inside the layers panel.
And now notice if we zoom in, on the
| | 03:39 |
image here, and if I go into, for
example, the 50% zoom level, which is a
| | 03:43 |
heck of a lot bigger than the 100% zoom
inside of the HDR Pro dialog box.
| | 03:50 |
We don't have nearly the degree of
sharpness we were seeing just a moment
| | 03:53 |
ago.
So, we've got some nice edged detail at
| | 03:56 |
work.
Now, presumably, you want to heighten the
| | 03:59 |
effect even more.
And here's how you go about doing that.
| | 04:02 |
The very first step, the first thing that
you want to do, is go up to Image > Mode
| | 04:06 |
> 8 Bits/Channel.
Because if you wait to do that until
| | 04:10 |
after you convert this image to a smart
object, which is what we're going to do,
| | 04:13 |
then you end up trapping a 16 bit per
channel smart object inside of an 8 bit
| | 04:16 |
per channel composition, which, just
unnecessarily grows the size of the file
| | 04:20 |
on your hard drive.
So, go ahead and choose 8 bits per
| | 04:25 |
channel.
And then, we want to convert the image to
| | 04:28 |
an independent layer by double-clicking
on the background item here inside the
| | 04:31 |
Layers panel.
And I'm just going to call this guy
| | 04:34 |
flagstaff for Flagstaff Mountain here in
Boulder, Colorado.
| | 04:38 |
And now I'll go ahead and click OK.
And now, I want to convert the image to a
| | 04:42 |
Smart Object, which I'll do by
right-clicking inside the image window,
| | 04:45 |
with the rectangular Marquee tool, and
I'll choose Convert to Smart Object.
| | 04:50 |
And then, we want to sharpen up the
image.
| | 04:52 |
So, I'll go ahead and back out just a
little bit here, to something like the
| | 04:56 |
25% zoom level.
And that will give me a better impression
| | 04:59 |
of what the image will look like in
print.
| | 05:01 |
Then I'll go up to Filter > Sharpen >
Smart Sharpen.
| | 05:06 |
And I came up with these settings here,
Amount value of 250%, a Radius of 20
| | 05:11 |
pixels, Remove set to Lens Blur, More
Accurate turned off.
| | 05:16 |
And that ends up creating a super sharp
effect here inside the 100% preview, but
| | 05:20 |
we get a more organic effect, as you can
see out here in the image window, when
| | 05:24 |
we're zoomed out.
All right, now I'll go ahead and click OK
| | 05:29 |
in order to accept that change.
Now of course, I want to avoid any color
| | 05:33 |
artifacting, so I'll double-click on the
Slider icon to the right of the words
| | 05:36 |
Smart Sharpen here inside the Layers
panel.
| | 05:40 |
That brings up the Blending Options
dialog box, at which point I'll change
| | 05:43 |
the mode from Normal to Luminosity, which
is the standard way of sharpening inside
| | 05:47 |
of Photoshop.
Then click OK.
| | 05:51 |
Now I wanted to add some clarity and I
did so using the High Pass Filter.
| | 05:55 |
So, I'll go up to Filter > Other > High
Pass.
| | 06:00 |
And then, I'll dial in, pretty big Radius
value, 50 pixels, and of course, because
| | 06:03 |
this is a smart filter, can always change
your mind later.
| | 06:07 |
Then, I'll click OK.
And finally, I'll double-click on this
| | 06:11 |
little Slider icon, next to the words
High Pass, in order to revisit the
| | 06:15 |
Blending Options dialog box.
And I'll change the mode to the most
| | 06:20 |
subtle of the contrast modes Soft Light
and I'll reduce the Opacity level to 50%.
| | 06:26 |
So, we have just a little bit of clarity
going on.
| | 06:29 |
Then, I'll click OK.
Finally, I need to increase the contrast
| | 06:32 |
of image by pressing the Alt or Option
key, clicking on the black white circle
| | 06:36 |
icon at the bottom of the Layers panel.
And then I'll go ahead and choose the
| | 06:40 |
Levels command.
Because I have the Alter+Option key down,
| | 06:44 |
that displays the Do Layer dialog box.
And, of course, if you loaded D keys, you
| | 06:48 |
can access this feature by pressing
Ctrl+Shift+L, or Cmd+Shift+L on a Mac.
| | 06:53 |
And I'll go ahead and call this guy
Contrast and click OK.
| | 06:56 |
And the values I came up with here inside
the Properties panel, with a black point
| | 07:01 |
value of 15 and a gamma value of 1.3.
Like so, you want to leave the white
| | 07:07 |
point value set to 255, because we
already have a little bit of clipping
| | 07:10 |
going on inside of this image.
Then go ahead and close the Properties
| | 07:14 |
panel.
And just so we can see what the final
| | 07:17 |
effect looks like, I'll press the F key a
couple of times in order to switch to the
| | 07:20 |
full screen mode, and zoom over to this
location here.
| | 07:25 |
And you can see that we have just a ton
of detail going on inside of this image,
| | 07:29 |
particularly down here in the ground and
over around the rocks as well.
| | 07:34 |
So, that friends, is at least one way to
create a highly detailed photographic
| | 07:40 |
effect using HDR Pro in Photoshop.
| | 07:45 |
| | Collapse this transcript |
| Adding a curve in HDR Pro to heighten reality| 00:00 |
In this movie I'll show you how to work
with Curves inside of HDR Pro, along with
| | 00:03 |
an elevated radius value, and along the
way we'll convert our HDR composition
| | 00:07 |
into this heightened reality effect,
complete with this colorful, articulated
| | 00:11 |
detail inside the rocks.
So I'll start by switching over to the
| | 00:17 |
Bridge by going up to the File menu and
choosing the Browse in Bridge command.
| | 00:21 |
And then I'll train the bridge on the
contents of the Flagstaff photos
| | 00:24 |
subfolder, which contains these modified
DNG images.
| | 00:28 |
I'll go ahead and press Control A, or
Command A on the Mac, to select all of
| | 00:30 |
them.
And then, I'll go up to the tools menu
| | 00:33 |
and choose Photoshop, and choose merge to
HDR Pro, which will switch me back over
| | 00:37 |
to Photoshop.
Now, it's going to take Photoshop a few
| | 00:40 |
moments to combine all the images
together.
| | 00:43 |
And to bring up the merge to HDR dialogue
box, but we're going to go ahead and
| | 00:46 |
speed up the process inside the video.
Once the dialogue box comes up on screen,
| | 00:51 |
we'll press control 1, or command 1 to on
the map, in order to zoom in on the
| | 00:54 |
previews, and, I'm going to start things
off by increasing the detail value, this
| | 00:57 |
time to 100% Just to make it easy to
follow along with me here.
| | 01:03 |
I'm also going to decrease the Gamma
value to 0.50, if I can make that work.
| | 01:09 |
And by the way, you can adjust the Gamma
values in increments of 1/100th by
| | 01:13 |
pressing either the Up or Down Arrow key.
I also brought up the Exposure value to
| | 01:18 |
0.15.
Just to slightly brighten the scene.
| | 01:21 |
Now I'm going to increase the strength
value to one, that is 1.00.
| | 01:26 |
And again I may need to use the arrow
keys to nudge that value, or in case of
| | 01:30 |
string the up and down arrow keys change
the value in increments of 1 tenth.
| | 01:36 |
So I'm just going to dial in a value of
1.00 like so.
| | 01:45 |
Now then the radius value, you can either
take it very low as we saw in the
| | 01:46 |
previous movie.
Or you can take it very high.
| | 01:48 |
You don't really want to take it to
someplace in the middle because notice,
| | 01:51 |
then you really start to see the halos.
So, if you want to displace the halos so
| | 01:55 |
that they're barely noticeable, you want
to increase that value to something very
| | 01:59 |
high.
And in my case I took it up to 450
| | 02:02 |
pixels, which is almost the max.
To be safe I also went ahead and turned
| | 02:07 |
on the remove ghost check box once again.
Now this time I'm going to go ahead and
| | 02:11 |
zoom in on the tree here, and the
farthest you can zoom in, by the way,
| | 02:14 |
inside of this dialog box, is 200%.
And as we're seeing here and I'm going to
| | 02:19 |
modify a few other settings here.
I've decided to take the shadow value up
| | 02:22 |
to something very high 75% in order to
elevate the shadows both inside the tree
| | 02:26 |
as you can see here as well as down here
inside the rocks.
| | 02:32 |
This may look like we're taking things to
far but its going to work out well when
| | 02:35 |
we're done.
And I took the highlights value down to
| | 02:38 |
negative 50%.
I'm also going to crank the vibrance
| | 02:41 |
value all the way up to 75% in order to
bring out all that color inside the
| | 02:45 |
rocks, and I'll leave the saturation
value set to 20%.
| | 02:50 |
Alright, finally I'm going to pan back to
the tree here.
| | 02:53 |
And I want you to see how oftentimes the
edge smoothness check box can mess things
| | 02:57 |
up.
So I'll go ahead and turn on that check
| | 03:00 |
box and notice that we loose all kinds of
detail Inside of the tree.
| | 03:04 |
Obviously I don't want that, so I'll go
ahead and turn the check box back off.
| | 03:08 |
And now, I'm going to increase the
contrast of the entire scene.
| | 03:12 |
I'll press Ctrl minus or Cmd minus on the
Mac in order to zoom out, and I'll switch
| | 03:16 |
over to the curve panel down here in the
lower right corner of the dialog box.
| | 03:21 |
And you can see that our histogram is
fairly compressed inside of this space
| | 03:25 |
here.
And as a result, we don't have any true
| | 03:28 |
blacks inside of the composite image, so
I'm going to drag over this bottom left
| | 03:32 |
point until I get an input value of 15%,
and you're only going to see the value
| | 03:36 |
update after you release.
But while the point is selected you can
| | 03:42 |
move it back and forth by pressing either
the left or right arrow keys.
| | 03:47 |
So I'm going to nudge that input value to
15%, leave output set to 0.
| | 03:51 |
And then I'll switch over to the top
right point.
| | 03:53 |
And I'll drag it over until the input
value is 90% is what I'm looking for.
| | 03:58 |
I've got 86, but if I press shift, right
arrow, I will increase that input value
| | 04:02 |
by an increment of four percent.
And I want the output value to be 100%.
| | 04:08 |
Now I'm going to elevate the mid-tones by
clicking and dragging in the center of
| | 04:11 |
the curve like so.
And I'm looking for an input value of 50
| | 04:15 |
% and an output value of 60% like so, and
so I press the up arrow key in order to
| | 04:20 |
nudge that output value upward and now
I'm going to click over right about here
| | 04:24 |
and set a point at 20, 20 is what I'm
hoping for.
| | 04:31 |
I've got an output value that's a little
high so I will press the down arrow key.
| | 04:35 |
Few times in order to reduce that value
to 20% and then you can see my input
| | 04:38 |
values, 25.
I want it to be 20, so I'll press Shift
| | 04:42 |
left arrow in order to nudge that point
four percent to the left.
| | 04:47 |
And I'll press the left arrow key a
couple of more times until, once again,
| | 04:51 |
input and output are set to 20%.
Now I want you to notice here, that you
| | 04:55 |
can switch between points.
Either by pressing the Minus key, in
| | 04:59 |
order to move backward.
So notice that I moved to back down here,
| | 05:02 |
and all the way around the graph.
If you want to advance to the next point,
| | 05:07 |
however, you have to press Shift+Plus.
Or you can just press the Plus key on the
| | 05:11 |
numerical keypad.
In my case, that's not updating the
| | 05:14 |
values, as you can see down here.
So it's(INAUDIBLE) .
| | 05:17 |
Misrepresenting the values that are
associated with this point.
| | 05:20 |
So to wake it up, all you have to do is
press one of the Arrow keys, and then
| | 05:23 |
you'll see the proper values.
The problem I have is that I've got a
| | 05:27 |
very sharp edge here at the top of the
highlights, so I'm going to round things
| | 05:30 |
out by adding another point.
And I want this one to have an input
| | 05:36 |
value of 70% and i want the output value
to be 90% as you see down here in the
| | 05:39 |
lower left hand corner of the screen, and
we end up with this final effect, which
| | 05:43 |
again looks a little bit washed out but
we'll solve that problem inside
| | 05:47 |
Photoshop.
Now once you're done, once you think you
| | 05:53 |
have some settings that you like...
Before you click okay, I really do
| | 05:57 |
recommend that you save your settings by
clicking on this top most fly out menu
| | 06:00 |
icon and choosing save preset.
I've done this in advance so you can see
| | 06:05 |
here in the preset menu that I have this
one called increased intensity which goes
| | 06:09 |
ahead and loads up those values that I
just applied.
| | 06:13 |
Alright now that I'm relatively protected
I'll go ahead and click okay in order to
| | 06:17 |
hand off my settings to Photoshop.
And a few moments later you should see
| | 06:21 |
the image manifest on screen and then
after a few progress bars things should
| | 06:24 |
settle down, as you see here.
Alright now go ahead and press Shift Tab
| | 06:29 |
to bring up my right side panels and I'll
zoom in a little bit as well.
| | 06:33 |
I want to sharpen up the image with the
application of a couple of smart filters.
| | 06:37 |
Which means I need to convert this image
to a smart object.
| | 06:39 |
But before you do that, be sure you go up
to the Image menu, choose Mode, and then
| | 06:42 |
choose eight bits per channel, so that
you're not cluttering up your hard drive
| | 06:45 |
with a 16 bit per channel smart object.
Next you want to double click on
| | 06:51 |
background in order to bring up the New
Layer Dialogue box.
| | 06:54 |
I'll go ahead and call this guy Flagstaff
once again.
| | 06:56 |
Click Okay.
Right click inside the image window with
| | 06:59 |
the rectangular marquis tool, and choose
Convert to Smart Object and then go up to
| | 07:03 |
the Filter menu.
choose Sharpen and choose Smart Sharpen.
| | 07:09 |
And these are the settings I came up with
for this image.
| | 07:11 |
An amount value of 350 percent, a radius
of three pixels and remove Set to Lens
| | 07:15 |
Blur, now click Okay.
And notice now, if I go ahead and zoom in
| | 07:20 |
on some details such as the tree up here,
and I'll zoom in even farther, you can
| | 07:23 |
see then I have all this color
artifacting going on.
| | 07:28 |
It almost looks as if I neglected to get
rid of the chromatic aberration but you
| | 07:31 |
may recall we did that a few movies ago.
So the way to take care of the problem is
| | 07:36 |
to double-click on the little slider icon
to the right of the word Smart Sharpen.
| | 07:41 |
To bring up the Blending Options dialogue
box, and then change that mode from
| | 07:44 |
Normal to Luminosity and watch what
happens to those color artifacts there
| | 07:48 |
inside the image window.
They all but disappear.
| | 07:52 |
Now go ahead and click Okay.
I'll press Control 0 or Command 0 on a
| | 07:55 |
Mac to once again zoom out.
I want to add a little bit of clarity so
| | 07:59 |
I'll go up to the Filter menu, choose
Other and then choose High Pass, once
| | 08:02 |
again I came up with a radius value of 50
pixels so click Okay, and then double
| | 08:06 |
click on a Slider to the right of the
words High Pass.
| | 08:11 |
There inside the Layers panel.
Change the blend mode, once again, to
| | 08:14 |
Soft Light, as we did in the previous
movie.
| | 08:17 |
And reduce the opacity to 50%.
And then finally, if you loaded dekes,
| | 08:22 |
you can press Control Shift L, or Command
Shift L on the Mac.
| | 08:25 |
If you didn't, press and hold the Alt
key, or the Option key on the Mac.
| | 08:29 |
Click on the Black White icon at the
bottom of the Layers panel, and choose
| | 08:32 |
the Levels command.
Go ahead and name this guy contrast.
| | 08:36 |
Click Okay.
And I came up with a black point value of
| | 08:39 |
25, which darkens the scene considerably.
And then I took the Gamma value up to 1.1
| | 08:45 |
just to brighten those mid tones, and now
I'll hide the Properties panel.
| | 08:49 |
Finally I'll press the F key a couple of
times in order to enter the Full Screen
| | 08:53 |
mode and zoom in a little bit as well,
and that's the final version of my
| | 08:57 |
heightened reality image using a
combination of a very elevated radius
| | 09:00 |
value along with a few curves
adjustments...
| | 09:06 |
Inside HDR Pro.
| | 09:09 |
| | Collapse this transcript |
| Creating a faux-HDR effect in Camera Raw| 00:00 |
Now there's no disputing that HDR Pro is
powerful, but it's not necessarily
| | 00:03 |
Photoshop's most entertaining feature.
The experience itself can be arduous, and
| | 00:08 |
it requires multiple exposures, so
there's a fair amount of overhead.
| | 00:13 |
Which is why I'd be remiss if I didn't
show you how you can simulate an HDR
| | 00:17 |
effect, in Adobe Camera Raw, using a
single exposure.
| | 00:21 |
Now, we're not going to get an identical
effect by any means.
| | 00:24 |
But we can get about 50% the way there.
So let me show you how it works.
| | 00:28 |
We'll go up to the File menu and choose
Browse and Bridge, in order to switch
| | 00:32 |
over to Adobe Bridge.
And once again I'm looking at the
| | 00:35 |
contents of the Flagstaff photo
subfolder.
| | 00:38 |
I'll select the image called Flagstaff
Bracketed 3, which is the default
| | 00:42 |
autoexposure.
And, I'll press Control R, or Command R
| | 00:46 |
on the Mac, in order to open that image
inside Camera Raw.
| | 00:50 |
Now the first thing we want to do, go
ahead and zoom in a little bit here, is
| | 00:53 |
increase the clarity.
And the temptation is to go ahead and
| | 00:57 |
crank that guy up to 100%.
But, if you zoom in on the tree here,
| | 01:01 |
you'll see that that creates a bunch of
halos inside of the branches right here,
| | 01:05 |
bunch of bright spots inside the
branches, and that phenomenon is going to
| | 01:09 |
get worse as we work along.
I'll leave clarity set to 100% for now.
| | 01:15 |
Now I'll go ahead and zoom out so that I
can take in the rocks over here, and in
| | 01:19 |
order to breathe life into those shadows,
I'll increase the shadows value to it's
| | 01:23 |
absolute maximum, plus 100, and then I'll
go ahead and take the highlights down, by
| | 01:27 |
reducing that highlights value to
negative 50, like so.
| | 01:33 |
I also want to bump up the contrast a
little bit, so I'll take that guy to,
| | 01:37 |
let's say, plus 25.
Now we need to apply a few
| | 01:40 |
straightforward corrections, by first
adjusting the exposure value.
| | 01:44 |
And I'll do that by pressing the Alt key,
or the Option key on the Mac, and drag
| | 01:48 |
the slider triangle to the left, so that
I can see if I've got any clipping going
| | 01:51 |
on.
And so you can see if I drag back to the
| | 01:55 |
right, I do have clipping as indicated by
the colorful pixels inside of the image
| | 01:59 |
window.
So I want to make sure all that goes
| | 02:02 |
away, by dragging that exposure value, in
my case, down to negative 0.50.
| | 02:08 |
And then I'll Alt drag on the whites
here, on the white slider triangle that
| | 02:11 |
is, in order to increase that value until
I get just a little bit of clipping on
| | 02:14 |
screen, as you can see here, which
happens at about plus 20, and then I'll
| | 02:18 |
Alt drag the blacks triangle to the left,
until I see a fair amount of clipping,
| | 02:21 |
actually, at this point, which happens at
negative 15.
| | 02:28 |
And I figure, negative 15 looks pretty
good.
| | 02:30 |
And so, we end up with this effect here.
Now, if I zoom in on the tree once again,
| | 02:34 |
you can see that we've got all kinds of
weird little highlights that are hanging
| | 02:38 |
out inside of the branches.
To get rid of those, just go ahead and
| | 02:42 |
reduce the clarity value until they, more
or less, go away.
| | 02:46 |
Which kind of happens at 50%.
There's still some highlights left inside
| | 02:50 |
of there, but, the only way to totally
get rid of them is to just take that
| | 02:54 |
Clarity Value down to zero, and I'm not
really willing to do that.
| | 02:58 |
So, 50% it is.
I'll go ahead and restore that value, and
| | 03:02 |
I also want to take the Vibrance value up
to 50% because, after all, you've thrown
| | 03:06 |
subtlety to the wind when you decided to
do this in the first place.
| | 03:11 |
Alright, now let's sharpen the heck out
of the image, by switching over to the
| | 03:13 |
Detail panel.
And I'm going to create that amount value
| | 03:17 |
up to its absolute maximum of 150.
going to take the radius value down just
| | 03:21 |
a little bit though, to two pixels, and
I'll leave the detail and masking value
| | 03:25 |
set to 0.
All of the noise reduction values are
| | 03:29 |
fine as is.
And we end up with this final effect
| | 03:31 |
here.
If I go ahead and press Control 0, or
| | 03:34 |
Command 0 on the Mac, to zoom out, we can
take in an entire image.
| | 03:38 |
Alright, now at this point, what you want
to do, is press the Shift key, and then
| | 03:42 |
click on the Open Object button down here
in the bottom right corner of the camera
| | 03:45 |
dialogue box, in order to open the image
as a smart object inside Photoshop.
| | 03:52 |
And a few moment later, you'll see that
image appear on screen.
| | 03:56 |
Now, the image isn't yet sharp enough,
believe it or not, even though we just
| | 04:00 |
maximized the sharpening inside of Camera
Raw.
| | 04:04 |
Fortunately, Photoshop and Camera Raw use
different sharpening algorithms, so you
| | 04:08 |
can heap Photoshop sharpening on top of
the sharpening you apply in ACR.
| | 04:12 |
And I'm going to do that by going to the
Filter menu, choosing Sharpen, and then
| | 04:16 |
choosing Smart Sharpen, and I'm going to
apply those exact same settings that I
| | 04:19 |
applied in the previous movie, that is in
the amount of 350%, a radius of three
| | 04:23 |
pixels, and remove Set to Lens Blur.
That obviously is an over the top effect,
| | 04:30 |
and we're getting all kinds of artifacts
here.
| | 04:33 |
That's okay, I'm going to go ahead and
click OK in order to accept the results.
| | 04:37 |
Because I opened the photograph as a
Smart Object, Photoshop applied Smart
| | 04:40 |
Sharpen as a Smart Filter.
So I can back it off by double clicking
| | 04:44 |
on a little slider icon, in order to
bring up the blending options dialogue
| | 04:48 |
box, then, of course, if you click over
here on the tree, you'll see that we've
| | 04:52 |
got all kinds of weird color artifacting.
So I'll change the Blend mode to
| | 04:58 |
Luminosity, and then I'll go ahead and
dial back the Opacity value to 33%, in
| | 05:01 |
order to produce this effect here, then
click OK.
| | 05:06 |
And now, to give you a sense of what
we've been able to achieve here, I'll
| | 05:09 |
press Shift Tab in order to hide the
right side panels, and I'll go ahead and
| | 05:12 |
zoom in a click as well, and I'll drag
this image down a little bit like so, and
| | 05:16 |
then I'll go up to the Window menu,
choose Arrange, for the sake of
| | 05:19 |
comparison here, and choose Match All, so
that I'm matching the pan and zoom
| | 05:22 |
settings of the HDR image.
So just so you can see the difference,
| | 05:29 |
here is that HDR image.
A little off-kilter actually, I need to
| | 05:35 |
move it over.
We're never going to get it exactly into
| | 05:38 |
alignment, because after all the HDR
image is auto-aligned with the other
| | 05:40 |
exposures.
But I do want to get a rough sense of
| | 05:42 |
whats going on here.
So this is the actual, official HDR
| | 05:46 |
image.
Notice the detail inside of this rock
| | 05:48 |
over here on the right hand side, and the
darkness of the tree.
| | 05:52 |
The great thing about the Camera Raw
image is, even though we don't have quite
| | 05:55 |
the detail inside of the rocks.
So we don't have quite that same
| | 06:00 |
otherworldly effect.
We do have brighter details inside of the
| | 06:04 |
tree.
So, we're not producing, by any means, an
| | 06:07 |
identical effect, but it is possible to
create a faux HDR effect, from a single
| | 06:13 |
exposure, inside Camera Raw.
| | 06:17 |
| | Collapse this transcript |
| Simulating HDR exposures in Camera Raw| 00:00 |
One of the most common questions I get
about HDR Pro is, can you fool it?
| | 00:04 |
In other words, instead of actually
shooting authentic multiple exposures,
| | 00:09 |
can you fabricate exposure inside, say,
camera raw.
| | 00:13 |
And then convince HDR Pro to use them,
and the answer is yes.
| | 00:18 |
So, for example, I shot this photograph
in Ireland at Giant's Causeway, and I had
| | 00:21 |
only had the camera about a week so I
didn't know how to use the bracketing
| | 00:25 |
feature yet, and even if I had.
It wouldn't have done me much good,
| | 00:30 |
because I was shooting this moving ocean.
So, what I've decided to do was fabricate
| | 00:35 |
a series of exposures, starting with very
bright, and then moving on through these
| | 00:39 |
darker exposures here.
And then, I stitched them all together
| | 00:45 |
using HDR Pro.
In order to create this more dynamic
| | 00:48 |
version of the photograph, and here's how
it works.
| | 00:51 |
I'll go up to the file menu and chose
Browse in Bridge, in order to switch to
| | 00:55 |
Bridge which is trained on the contents
of the Giants Causeway, and you can see
| | 00:59 |
that I have a total of 5 variations on
the D and G file.
| | 01:04 |
So all I did was select the original
file, this one here, and then go up to
| | 01:08 |
the Edit menu and choose the Duplicate
command in order to make multiple
| | 01:11 |
versions of it.
And then I went ahead and changed the
| | 01:15 |
settings for each one of these files.
And let me show you what those settings
| | 01:18 |
are.
I'll go ahead and select all five files
| | 01:20 |
and press Control+R Or Cmd+R on a Mac in
order to bring up Camera Raw.
| | 01:25 |
Here is the standard version of the shot
and as you can see I've done very little
| | 01:28 |
to it.
I adjusted the temperature so I warmed it
| | 01:31 |
up quite a bit.
And I also applied some other color
| | 01:34 |
modifications over here in the HSL
Grayscale panel.
| | 01:38 |
So, you can see here in a hue subpanel,
that I've gone ahead and moved some of
| | 01:41 |
the greens and blues around.
I've also increased the saturation of the
| | 01:46 |
oranges and the blues.
Now, what's more interesting from the
| | 01:49 |
perspective of creating multiple
exposures, is what you can do here,
| | 01:52 |
inside the basic panel.
So, I initially had to reduce the whites
| | 01:56 |
value to negative 30 in order to avoid
blown highlights throughout the image.
| | 02:01 |
But otherwise, you can see that these
options are zeroed out.
| | 02:05 |
If I switch to Hex Rocks 2 which is a
brighter variation, you can see that I
| | 02:08 |
have the same whites values, all the
other values are 0 except for exposure
| | 02:12 |
which I've taken up to plus 1 and then
for the brightest shot, I've taken the
| | 02:16 |
exposure value up to plus 2.
I reduced the contrast to negative 25.
| | 02:23 |
I reduce the highlights value to negative
100 and I also took the whites value down
| | 02:27 |
to negative 40 and this is all designed
to avoid blowing highlights.
| | 02:31 |
Now let's take a look at the darker
shots.
| | 02:33 |
For hexrocks4.dng here I reduce the
exposure value to negative 1.
| | 02:37 |
I no longer needed that negative whites
value because just by virtue of the fact
| | 02:41 |
that I took the exposure value down I
avoided the blown highlights.
| | 02:46 |
And then finally we've got Hex Rocks 5
down here, the dark-ish shot, I reduce
| | 02:49 |
the exposure to negative 2.
Once again, I took the Contrast down to
| | 02:54 |
negative 25, and I boosted the Shadows
value up to plus 100 to avoid losing all
| | 02:58 |
the shadow detail.
Then, what you want to do is click on
| | 03:02 |
Select All in order to select all of your
images, and click on the Save Images
| | 03:06 |
button, and you want to go ahead and
change the format to JPEG.
| | 03:12 |
Make sure to crank the quality up to its
maximum, which is 12.
| | 03:16 |
And then I went ahead and saved all these
images to the JPEG subfolder inside that
| | 03:20 |
40_HDR folder.
And I've already done that in advance,
| | 03:24 |
but it's a very important step because
you have to open all these images inside
| | 03:27 |
Photoshop and save them out as well.
And this is the easiest way to do that.
| | 03:31 |
All right, I'll go ahead and cancel out
of both of these dialog boxes in order to
| | 03:36 |
return to bridge and then I'll click on
the JPEG's folder which contains all of
| | 03:40 |
my images here saved as JPEG files.
So, if you're working along with me, you
| | 03:46 |
want to make sure that you open all five
of these files.
| | 03:49 |
I've already done so in advance so I'm
just going to go ahead and click on the
| | 03:52 |
little boomerang icon to return to
Photoshop and you can see that I've got
| | 03:56 |
all of these JPEG images open.
As well as ready and waiting.
| | 04:01 |
Now what you do is you go up to the File
menu and you choose Automate, and then
| | 04:05 |
you choose Merge to HDR Pro, and it's
very important you do this inside
| | 04:09 |
Photoshop as opposed to handing the
images off from Bridge.
| | 04:15 |
Because otherwise you're not going to see
the proper dialog boxes.
| | 04:18 |
So go ahead and choose the command, and
then inside this initial dialog box, go
| | 04:22 |
ahead and click on Add Open Files to add
all the files that you have open.
| | 04:27 |
We don't want this one, that is the final
version of the composition, so I'll
| | 04:30 |
select it and click on the Remove button
so that we have just the five JPG files
| | 04:34 |
open.
You also want to turn off Attempt to
| | 04:38 |
Automatically Align Source Images.
After all, there's no point in doing
| | 04:42 |
that.
They're all the exact same image.
| | 04:45 |
And if anything, this check box could
create problems.
| | 04:48 |
Then click Okay.
In order to merge all the various images
| | 04:52 |
together.
In a few moments later, you'll see this
| | 04:55 |
manually set EV, that is the exposure
value dialog box.
| | 04:59 |
And what you want to do is you want to
make sure all of your images are in a
| | 05:02 |
proper order, and they will be by default
because of the way I numbered them.
| | 05:06 |
And then you want to advance to the 3rd
image which is the base exposure and just
| | 05:09 |
click in the shutter speed here in order
to make sure it's active because
| | 05:12 |
otherwise you'll end up changing it for
all the shots which is just not what we
| | 05:15 |
want to do because this is the accurate
information that Photoshop is loading
| | 05:19 |
from the meta data.
Then advance to image four or five, which
| | 05:25 |
is going to be the slightly brighter
version of the shot.
| | 05:28 |
Leave the exposure time alone, but change
the F-stop to 2.8, which is going to open
| | 05:33 |
it up As if to create a brighter shot.
And then advance to image five of five
| | 05:38 |
here.
And change its F stop to 2.0.
| | 05:42 |
The next one up.
So that we're opening up the aperture
| | 05:44 |
some more.
Then go ahead and advance backward to
| | 05:47 |
image two of five and change its F stop
value to 5.6.
| | 05:51 |
So we're closing it down now.
And then go back to Image 1 of 5 and
| | 05:55 |
change its Exposure Value to 8.0.
Now then you're not going to see the
| | 06:00 |
proper EV value right away.
What you have to do is click on this
| | 06:03 |
right pointing arrow and then click back
on the left pointing arrow to see it
| | 06:06 |
update.
So you can see that the darkest shot has
| | 06:09 |
an exposure value.
That first shot is calculating
| | 06:13 |
automatically of 5.74.
And then the next one has a value of 8.14
| | 06:18 |
so big difference there then we've got
9.74 for the actual version of the shot.
| | 06:24 |
The next one has an EV of 10.94 and the
final one is 11.74 and I only mention
| | 06:28 |
that in case your following along.
Just so that you can see that they are
| | 06:33 |
consistently increasing, and by the way
you're only going to see this dialog box
| | 06:37 |
and be able to adjust these settings when
you choose Merge to HDR Pro directly
| | 06:40 |
inside of Photoshop.
Once you get everything squared away go
| | 06:45 |
ahead and click Okay in order to bring up
the merge to HDR window, which will allow
| | 06:49 |
us to dial in a handful of very specific
settings...
| | 06:53 |
As I'll explain in the next movie.
| | 06:57 |
| | Collapse this transcript |
| Merging simulated exposures in HDR Pro| 00:00 |
In this movie I'll show you how to take
the artificial exposures that we designed
| | 00:04 |
inside Camera raw and combine them into a
single rich detail image here inside HDR
| | 00:09 |
Pro.
So the first thing I'm going to to do is
| | 00:13 |
change the detail value to 200% in order
to bring out the luminance detail inside
| | 00:17 |
the image.
Also press control 1 or command 1 on the
| | 00:20 |
MAC in order to zoom in and you can see
that that turns these stones here, these
| | 00:24 |
hexagonal stones for which Giant's
Causeway is famous Into this sort of
| | 00:28 |
polished gold.
Next I'm going to take the radius value
| | 00:34 |
up to 100 pixels just to avoid any
obvious haloing and I'll increase the
| | 00:37 |
strength value to 0.8, which is about as
high as I figured I could get away with
| | 00:41 |
here.
You also want to turn on Edge Smoothness.
| | 00:46 |
Notice all these hot highlights out here.
If you turn on the edge smoothness check
| | 00:51 |
box then you get rid of some of those
highlights but we're still leaving some
| | 00:55 |
others behind which is why I decided to
take the exposure value down to negative
| | 00:59 |
one point 0, 0 like so.
Now if I turn Edge Smoothness back off,
| | 01:05 |
you can see what I'm talking about.
We've got these very hot highlights over
| | 01:08 |
here in the water, and we also have these
brittle transitions in the shadows.
| | 01:13 |
But if I turn on Edge Smoothness, then we
get better shadow detail and we end up
| | 01:17 |
quashing some of those very bright
highlights.
| | 01:21 |
Next I went ahead and took the Shadows
value up to 50 and then I took the
| | 01:24 |
Highlights value down to negative 50 just
to fill things in a little bit.
| | 01:29 |
I took the Vibrance value up to 25, for
what it's worth, and I left the
| | 01:33 |
Saturation as usual set to 20%.
Now I'll go ahead and click on a Curve
| | 01:38 |
tab, and I'll press Control 0 or Command
0 on a Mac as well, just to zoom out
| | 01:42 |
here.
And I want to brighten the mid tones ever
| | 01:45 |
so slightly, so I'll just go ahead and
set a point in the center here.
| | 01:48 |
And notice that it has an input and
output value of 50%.
| | 01:52 |
And now I'll go ahead and press Shift Up
Arrow in order to increase the output
| | 01:56 |
value to 54% and then I'll eventually
nudge it up to 55%.
| | 02:01 |
So that's what I'm looking for.
Input of 50%, and output of 55.
| | 02:06 |
And these are the settings that I'm going
with.
| | 02:08 |
Now because we are about to click the OK
button, good idea is to go up here to the
| | 02:12 |
top fly out menu, and choose the save
preset Cmd, in order to save out your
| | 02:15 |
settings.
I've done so in advance, and I've called
| | 02:19 |
my settings, Single-shot fakery.
All right, having protected myself about
| | 02:24 |
as well as I can, I'll go ahead and click
on the Okay button, in order to generate
| | 02:27 |
the HGR version of the image.
And, at this point, HGR Pro is just
| | 02:32 |
taking for granted that these are indeed
authentic exposures.
| | 02:36 |
And, as a result, it goes ahead and
merges them together into a single, high
| | 02:40 |
detail shot.
Alright, I'm going to zoom in here a
| | 02:43 |
little bit, so that I can take in the
image a little more closely.
| | 02:46 |
And of course, now we need to make a few
modifications inside Photoshop.
| | 02:50 |
So the first thing you want to do is
double-click at the background in order
| | 02:53 |
to convert it into a new layer.
And I'll just go ahead and call this,
| | 02:56 |
causeway, and then click OK.
And next, we want to right click inside
| | 03:00 |
the image window and choose convert to
smart object.
| | 03:03 |
And by the way if you do this and ends up
taking forever as it in my case, that's
| | 03:07 |
an indication that you neglected to
convert the image to eight bits per
| | 03:10 |
channel.
So if you're in the middle of generating
| | 03:13 |
the smart object, you can just press the
escape key to cancel the operation.
| | 03:17 |
Or, if it ends up finishing just press
control Z or command Z on a Mac to undo
| | 03:20 |
the creation of the smart object, then go
back up to the image menu, choose mode
| | 03:23 |
and choose eight bits per channel.
And watch how much faster it goes just
| | 03:29 |
takes a split second this time and as I
mentioned before there's really no reason
| | 03:33 |
to stick in 16 bit per channel after you
get done generating an HDR image
| | 03:37 |
especially one that's based on fake
exposures in the first place.
| | 03:44 |
Now right click inside the image window
and choose convert to smart object.
| | 03:48 |
And then, go up to the filter menu and
choose Sharpen, and choose Smart Sharpen.
| | 03:53 |
And I came up with an amount value of
250% and a radius of three pixels, and I
| | 03:57 |
still have Remove Set To Lens Blur.
So, I'll go ahead and click OK.
| | 04:01 |
And then you want to double click on a
little slider icon to bring up the
| | 04:04 |
Blending Options dialogue box and, as
always, when working with Smart Sharpen,
| | 04:08 |
you want to change the mode to Luminosity
to avoid sharpening anything but the
| | 04:11 |
luminance data.
Then go ahead and click Okay.
| | 04:16 |
Now I want to add a little bit of
contrast to the scene, so I'll press the
| | 04:19 |
Alt key or the Option key on the Mac,
click on the little black white circle at
| | 04:22 |
the bottom of the Layers panel and choose
the Levels command in order to bring up
| | 04:26 |
the new Layer dialog box, and I'll call
this guy Booster and I'll click Okay.
| | 04:32 |
And then I'll change the black point
value to 15.
| | 04:36 |
Tab over to the gamma value and raise it
to 1.2 in order to create this effect
| | 04:40 |
here.
Now it this point I decided I wanted to
| | 04:44 |
make my rocks look a little more golden,
even if possible.
| | 04:48 |
As well as synch the blues associated
with the top of the rocks and the ocean.
| | 04:52 |
And I decided to do that using hue
saturation layer.
| | 04:56 |
So if you loaded my d keys keyboard
shortcuts, you can just press Control
| | 04:59 |
Shift u, or Command Shift u on the Mac.
If you didn't, press the Alt key or the
| | 05:03 |
option key on a Mac.
Click the black white icon on the bottom
| | 05:06 |
of the layers panel and choose hue
saturation.
| | 05:09 |
And we'll bring up the New Layer dialogue
box once again, and we'll call this guy
| | 05:12 |
Adjuster and click OK.
Then you want to grab your target
| | 05:16 |
adjustment tool in the upper left corner
of the Properties panel and drag from one
| | 05:20 |
of these golden rocks over here and
dragged over to the right in order to
| | 05:23 |
increase the saturation value.
And I ended up taking that value up to
| | 05:29 |
35, as you can see.
And because I'm using the Target
| | 05:33 |
Adjustment Tool I only effected the
yellows.
| | 05:36 |
Now press the hold the Control Key, or
the Command Key on the Mac, and drag
| | 05:40 |
within this gold area once again ever so
slightly over to the left.
| | 05:45 |
You only want to change the hue value to
negative two.
| | 05:49 |
As you can see right here, and you may
recall, when you press Ctrl or Cmd and
| | 05:52 |
drag with the Target Adjustment tool when
Hue/Saturation is up on screen, you
| | 05:56 |
modify the hue value instead of the
saturation value.
| | 06:00 |
Now we want to do the opposite with the
blue regions inside the image, so go
| | 06:04 |
ahead and drag on the top of one of these
rocks to the left in order to reduce the
| | 06:07 |
saturation value ultimately the negative
30 as you see here.
| | 06:12 |
And as you can see I'm only effecting the
blues this time around.
| | 06:16 |
Then press the Control key or the Command
key on a Mac.
| | 06:19 |
and once again drag to the left, until
your hue value changes to negative 10.
| | 06:25 |
Or of course, you can just dial in a
value negative ten as well, if you want
| | 06:29 |
to exactly match my results.
And that is the finished version of the
| | 06:33 |
composition.
So I'll just go ahead and press Shift F a
| | 06:36 |
couple of times in order to shift of the
Full Screen mode and zoom in.
| | 06:41 |
Now if you were to take a close look at
some of the details inside of this image
| | 06:44 |
you would find some problems here and
there.
| | 06:48 |
We have some weird edges in the upper
left corner of the image, and we have the
| | 06:52 |
sort of golden lights in the ocean which
are all leftovers of the actual captured
| | 06:56 |
colors inside of this photograph.
Now if that bothered you, you crop them
| | 07:01 |
away and so forth.
But if you try printing this photograph,
| | 07:05 |
you'll see that it comes out just great.
In any case, for what it's worth, that's
| | 07:10 |
how you go about generating your own fake
exposures and merging them together in
| | 07:15 |
Hdr Pro.
| | 07:17 |
| | Collapse this transcript |
| Creating an authentic HDR portrait shot| 00:00 |
In this final project, I'll show you how
to take a series of bracketed portrait
| | 00:04 |
shots and combine them into a single HDR
portrait using HDR Pro.
| | 00:09 |
Specifically, we'll be taking these three
bracketed shots of me, one of which is
| | 00:13 |
properly exposed, one of which is
overexposed, and then another,
| | 00:16 |
underexposed.
And we'll combine them into this single,
| | 00:21 |
absolutely impeccable, HDR photograph.
Maybe a little scary, however, because
| | 00:26 |
you're seeing, you know, every single
whisker on my face as well as my pores
| | 00:29 |
and so forth.
And then we'll go ahead and soften the
| | 00:33 |
portrait shot, in order to create this
final effect here.
| | 00:36 |
So we'll start off with the bracketed
images.
| | 00:38 |
Now, couple of words of advice, for those
of you who are shooting these kinds of
| | 00:42 |
photographs, I recommend three, as
opposed to five bracketed shots, that way
| | 00:45 |
you have less opportunity for movement.
And, of course, you want to go ahead and
| | 00:51 |
tripod the shot which is what we did
here.
| | 00:54 |
And make sure that you are shooting as
rapid fire as possible.
| | 00:57 |
If you're the subject of the photograph,
you need to remain absolutely still,
| | 01:00 |
which of course is physically impossible.
But what I ended up doing was holding my
| | 01:05 |
breath which is why I don't have the most
charming smile going.
| | 01:08 |
It's very difficult to smile for one of
these shots.
| | 01:11 |
And of course, you want to shoot as many
of these things as possible, so that you
| | 01:14 |
have a lot to work from.
Alright, so with the various exposures
| | 01:18 |
open here, I’ll go up to the File menu,
choose Automate, and then choose Merge to
| | 01:22 |
HDR Pro.
And you want to do this inside of
| | 01:26 |
Photoshop, by the way.
So that you can click on Add Open Files.
| | 01:30 |
That's going to add too many files, in my
case.
| | 01:32 |
I don't want the final PSD compositions.
So I'll select one, Shift click on the
| | 01:36 |
other one, and then click Remove to get
rid of them.
| | 01:39 |
You'll also want to turn on the check
box, Attempt to Automatically Align
| | 01:42 |
Source Images, so that Photoshop goes
ahead and applies its Auto Alignment, in
| | 01:45 |
order to get all the shots to match.
Then click OK, and let Photoshop do its
| | 01:50 |
thing, where it's merging the various
shots together.
| | 01:53 |
And three shots is enough, by the way, to
pull off this effect.
| | 01:57 |
Then I'll press Control 1, or Command 1
on the Mac, to zoom in to 100%, so I can
| | 02:00 |
see what I'm doing.
And, the first thing I did was to
| | 02:04 |
increase the detail value to 100%, just
to try it out and see what it looked
| | 02:08 |
like.
I also took the gamma value down to 0.5
| | 02:11 |
to remove some of the contrast from the
shot.
| | 02:15 |
It ends up looking pretty bad at this
point, but it's going to get better.
| | 02:19 |
I'll increase the Shadow value to its
absolute maximum, which is 100%, and then
| | 02:23 |
I'll tab down to the Highlights value and
take it down to negative 75.
| | 02:28 |
And then I increase the Vibrance value to
25%, and I left the Saturation, as usual,
| | 02:33 |
set to 20%.
Didn't need to monkey around with the
| | 02:36 |
Curves this time.
Instead, I'll just go ahead and turn on
| | 02:39 |
Remove Ghosts, just in case there's any
hair movement going on here.
| | 02:43 |
And that'll make sure that we don't have
any absolutely aberrant details.
| | 02:48 |
And then I'll take my strength value up
to one, and finally, I'll increase the
| | 02:52 |
radius value to its absolute maximum,
which is 500%, and that ends up giving me
| | 02:56 |
a much better effect.
Now I'm going to zoom in a little bit
| | 03:01 |
here, to the 200% view size, so that I
can show you what happens when you turn
| | 03:04 |
on edge smoothness.
And notice that it ends up creating some
| | 03:09 |
weird details, both inside my eyes and
inside my nostril, which obviously is not
| | 03:13 |
all that desirable, especially when
you're the subject of the photograph.
| | 03:18 |
So I'll go ahead and turn that check box
back off.
| | 03:21 |
Now we're ready to click OK.
So, of course, you should go up to the
| | 03:23 |
top fly out menu icon and choose Save
Preset.
| | 03:26 |
But as usual, I've already saved my
preset in advanced as Portrait Shot, and
| | 03:30 |
if I select it, you can see that gives me
the same settings that I just got done
| | 03:33 |
applying.
All right, now I'll go ahead and click
| | 03:37 |
OK, in order to apply that modification
to my image, and Photoshop will begin to
| | 03:42 |
build the merged HDR composition.
And of course, it's going to build this
| | 03:48 |
composition as a flat image file.
All right, now I'm going to zoom in a bit
| | 03:52 |
here until I get to the 50% zoom level,
and I'll go ahead and pan the image as
| | 03:54 |
well.
All right, so the first step where
| | 03:57 |
Photoshop edits are concerned, is to go
up to the Image menu, choose Mode, and
| | 04:01 |
choose 8 Bits Per Channel.
Once again, no sense in making our image
| | 04:05 |
file any bigger than it needs to be.
Then I'll double click on a background to
| | 04:08 |
convert it to a layer, and I'll call this
new layer Portrait, and then I'll click
| | 04:11 |
OK.
And then I'll right click inside the
| | 04:14 |
image window with the Rectangular Marquee
tool and choose Convert to Smart Object,
| | 04:17 |
so that I can apply a couple of smart
filters.
| | 04:21 |
Now to apply the first filter, go up to
the Filter menu as usual, choose Sharpen,
| | 04:25 |
and choose Smart Sharpen.
And I came up with these values right
| | 04:29 |
here.
As extraordinary as it may seem, I went
| | 04:32 |
ahead and cranked the amount value up to
its maximum, of 500%.
| | 04:36 |
And just so we can see a better detail
here, I'll click on my eye like so.
| | 04:40 |
Because that's probably the best thing to
focus on.
| | 04:43 |
I also took the radius value down to two
pixels, I still have removed Set to Lens
| | 04:46 |
Blur.
You want the More Accurate check box to
| | 04:49 |
be turned off, of course, because we're
working with a portrait, then, go ahead
| | 04:52 |
and click OK.
Now, double click on a Slider icon, right
| | 04:56 |
next door to Smart Sharpen, in order to
bring up the Blending Options dialogue
| | 05:00 |
box.
Change the mode, as usual, to Luminosity,
| | 05:04 |
and then let's go ahead and reduce the
Opacity Value to 50% in order to produce
| | 05:08 |
this effect here.
Now click OK.
| | 05:12 |
Now we want to add some clarity in the
form of High Pass, so go up to the Filter
| | 05:15 |
menu, choose Other, and choose the High
Pass command.
| | 05:20 |
And I ended up cranking the radius value,
again, to its maximum setting of 1,000
| | 05:25 |
pixels.
Now go ahead and click OK.
| | 05:27 |
And the ironic thing about high pass, is
these larger values, even though they
| | 05:31 |
produce more subtle effects, end up
taking more time to process.
| | 05:36 |
Once it's done, go ahead and double-click
on the slider for High Pass, here inside
| | 05:40 |
the Layers panel, and then change the
mode from Normal to Soft Light, and
| | 05:43 |
that's it.
We don't need to reduce the Opacity value
| | 05:47 |
this time around, just go ahead and click
OK.
| | 05:50 |
Alright, so that's how you go about
creating a high definition portrait shot,
| | 05:54 |
using HDR Pro.
It's a little bit harsh, however, because
| | 05:58 |
you can see all the wrinkles, and all the
pores, and all the whiskers, and all that
| | 06:01 |
jazz.
The subject of your photograph might not
| | 06:04 |
be very pleased with this treatment,
which is why I'll show you how to soften
| | 06:08 |
this HDR portrait, in the very next
movie.
| | 06:12 |
| | Collapse this transcript |
| Softening an HDR portrait shot| 00:00 |
In this movie, we'll take that HDR
portrait shot, that we created in the
| | 00:03 |
previous movie, and we'll tone it down to
create this more pleasing final version
| | 00:06 |
of the composition.
At least it's about as pleasing as it's
| | 00:10 |
going to be, given that it's me.
I'll go ahead and switch over to the
| | 00:13 |
image in progress.
And the first thing that you want to do,
| | 00:16 |
is remove some of the color saturation,
and we'll do that by applying a vibrant
| | 00:19 |
adjustments layer.
If you loaded my D key shortcuts, you can
| | 00:23 |
just press Control Shift V, or Command
Shift V on the mac, if not press the Alt
| | 00:27 |
key, or the Option key on the Mac, click
the black white circle at the bottom of
| | 00:30 |
the layers panel and choose Vibrance.
Either way, that will bring up the New
| | 00:36 |
Layer dialogue box, and I'll all this
layer Down Colors, and then click OK.
| | 00:41 |
Now I'll press Shift Enter, or Shift
Return on the Mac, to highlight the
| | 00:44 |
vibrance value.
And I'll take it down to negative 50.
| | 00:47 |
And then I'll Tab to the Saturation
value, and take it down to negative 25.
| | 00:52 |
Then you can hide the Properties panel if
you like.
| | 00:54 |
Now we want to create a merged version of
these layers, by pressing Control Shift
| | 00:58 |
Alt E here on the PC, or Command Shift
Option E on the Mac.
| | 01:03 |
And I'll go ahead and rename this new
layer, Merged, then I'll right click
| | 01:06 |
inside this image window with the
Rectangular Marquee tool, and choose
| | 01:09 |
Convert to Smart Object, because once
again, I don't want to apply a smart
| | 01:12 |
filter.
And the filter I'm looking for is located
| | 01:17 |
under the Filter menu, then you want to
choose Blur, and then choose Gaussian
| | 01:20 |
Blur.
And I went with the radius value of 10
| | 01:23 |
pixels, which should work for most of
your portrait shots.
| | 01:27 |
This image is better than 20 megapixels
after all.
| | 01:31 |
So now I'll go ahead and click OK in
order to apply the blur.
| | 01:33 |
Then, you want to double click on the
little slider icon, for Gaussian blur, in
| | 01:37 |
order to bring up the Blending Options
dialogue box, and change the mode to
| | 01:40 |
Overlay, in order to create this effect
here.
| | 01:44 |
Now it has way too much contrast at this
point, which is why we're going to have
| | 01:48 |
to modify the smart object.
So, start by clicking OK, in order to
| | 01:53 |
modify the effect.
And, if you want to save room inside the
| | 01:56 |
Layers panel, which I do, I'm just
going to right click on each one of these
| | 01:59 |
white filter mask thumbnails, and choose
Delete Filter Mask, for both the top one
| | 02:02 |
and the bottom one, here.
Then, double click on the thumbnail for
| | 02:07 |
the Merge Smart Object, and if you see
the alert message that tells you how
| | 02:10 |
Smart Objects work, just go ahead and
click OK.
| | 02:14 |
Now, I'll go ahead and zoom in on this
file, once again.
| | 02:18 |
And what we want to do, is reduce the
contrast, and the easiest way to do that
| | 02:21 |
is to press the Alt key, or the Option
key on the Mac, click the Black White
| | 02:24 |
icon at the bottom of the Layers panel,
and choose Brightness Contrast, in order
| | 02:27 |
to bring up the New Layer dialog box.
And I'll call this guy Lower Contrast,
| | 02:34 |
and then click OK.
Now you want to make sure the Use Legacy
| | 02:38 |
check box is turned off, as it is by
default, and reduce the contrast value to
| | 02:42 |
negative 50.
Now, that ends up, not only reducing the
| | 02:46 |
contrast of the luminous detail inside
the image, but it flattens out the skin
| | 02:49 |
tones, as well.
To bring those skin tones back, change
| | 02:53 |
the blend mode in the upper left corner
of the Layers panel, from Normal to
| | 02:57 |
Luminosity, and you'll end up producing
this effect here.
| | 03:01 |
Now, we want still lower contrast than
this, so make sure that Lower contrast
| | 03:05 |
layer is selected, then press Control J,
or Command J on the Mac, to make a copy
| | 03:09 |
of it, so that we're reducing the
contrast twice in a row.
| | 03:14 |
Again we're not effecting the color
however, because the blend mode for this
| | 03:17 |
layer is still set to Luminosity.
Now go ahead and close the Smart Object,
| | 03:22 |
and click the Yes button here on the PC,
or the Save button on the Mac, in order
| | 03:25 |
to update your original composition, and
you'll arrive at this effect here.
| | 03:32 |
So if I press Control Z, or Command Z, on
the Mac, this is what we were seeing
| | 03:35 |
before, and if I press Control or Command
Z again, you can see that this if the
| | 03:38 |
effect that we have now.
And just to give you a sense of what kind
| | 03:43 |
of difference it makes to the overall
portrait, if I turn the Merge Layer off,
| | 03:47 |
this is the gruesome HDR version of my
face here.
| | 03:51 |
And this is the nicely softened
photograph.
| | 03:54 |
Alright, so just so we can see the
overall effect, I'll go ahead and press
| | 03:57 |
the F key a couple of time to enter the
full screen mode.
| | 04:00 |
And note, by the way, that the stripes in
my shirt hold up quite nicely.
| | 04:04 |
So everything's in near-perfect alignment
at this point.
| | 04:08 |
And just in case you're wondering how
this compares to one of the untreated
| | 04:12 |
versions of the portrait shot, here is
the original, properly exposed portrait
| | 04:17 |
looking extremely flat indeed, compared
with our final softened HDR treatment,
| | 04:21 |
thanks largely to the power of HDR Pro
working inside Photoshop.
| | 04:28 |
| | Collapse this transcript |
|
|
41. Advanced LayersManaging the multilayer experience| 00:00 |
Now I don't know about you but I spend a
lot of my time in hugely multi-layered
| | 00:05 |
documents, dozens of layers, hundreds of
layers, literally 200s of layers.
| | 00:11 |
And it gets even worse if the layers
aren't yours.
| | 00:14 |
If it's a document that comes from a
co-worker for example and you're trying
| | 00:16 |
to navigate your way through it.
Well in that case you need, a way to
| | 00:21 |
manage the multi-layer experience.
And I'm here to help you manage that
| | 00:28 |
experience.
Now I know, the second I trot out the
| | 00:31 |
word manage, it sounds like it's news
fest.
| | 00:35 |
But this is some great information.
For example, did you know that you can
| | 00:38 |
sit down and rename a sequence of layers
without ever taking your hands off the
| | 00:41 |
keyboard?
So you can get some work done very fast
| | 00:45 |
that way.
You can also search for a layer by name,
| | 00:48 |
you can filter layers inside the Layers
panel according to all kinds of criteria,
| | 00:51 |
that is to say, for example, you could
just see all the text layers and nothing
| | 00:54 |
more outside of their groups right in a
row.
| | 00:59 |
Find the exact text layer you want to
edit, make your modificatins and get back
| | 01:02 |
out just like that.
I swear to you.
| | 01:05 |
You can also expand and contract all of
the layers and all of the groups inside
| | 01:08 |
of the Layers panel at once...
You can do all kinds of stuff to groups
| | 01:13 |
now, including apply a layer effect to an
entire group at a time, which is awesome.
| | 01:18 |
And finally I'll show you how to work
with Layer Comps, which allow you to save
| | 01:22 |
the states of your layers inside of a
document, whether they're turned on or
| | 01:25 |
off.
And the also the Blend settings as well.
| | 01:29 |
So you can create all kinds of variations
on a document, as you'll see.
| | 01:33 |
So managing the multi-layer experience is
a whole lot of fun.
| | 01:38 |
And besides, you know us.
We're going to have a great time no
| | 01:43 |
matter what, starting in the next movie.
| | 01:47 |
| | Collapse this transcript |
| Renaming a sequence of layers| 00:00 |
In this movie, I'll show you how to mow
through the task of renaming multiple
| | 00:03 |
layers.
And even though this is a very common
| | 00:06 |
operation, inside of Photoshop, the fact
that you need to rename layers comes up
| | 00:10 |
all the time.
Very few people are aware that you can
| | 00:14 |
expedite the process.
So here I am working inside of a very
| | 00:19 |
complicated composition that comprises
more than 60 layers.
| | 00:24 |
So if you take a look at this list inside
the layers panel you can see that it goes
| | 00:27 |
on and on.
And this is pretty commonplace.
| | 00:31 |
When you're starting to create very
complicated projects inside of Photoshop.
| | 00:35 |
Now, because I have so many layers at
work here, I reduce the size of the
| | 00:38 |
thumbnails by going up to the Layers
panel fly-out menu and choosing Panel
| | 00:42 |
Options, and then I switch to the medium
thumbnail size.
| | 00:46 |
Just FYI anyway I'll go ahead and cancel
out of there.
| | 00:50 |
So just by way of back story this piece
of artwork is based on kind of a father
| | 00:53 |
son project I put together with my
youngest son Sam.
| | 00:58 |
And so if you go up to the window menu
and choose layer comps you'll bring up
| | 01:01 |
the layer comps panel and we'll be
discussing this panel with more detail in
| | 01:04 |
future movies but for now if your working
along with me just go ahead and click on
| | 01:08 |
this little box in front of the first
comp, joint sketch.
| | 01:13 |
And that shows you this pencil sketch
that Sam and I drew together.
| | 01:17 |
So we take turns sort of upping the ante
on the absurdity of this monster.
| | 01:21 |
Sam drew the left ear over here, which is
pointed as you can see, and then I drew
| | 01:24 |
the right ear.
And I decided that in truth, this alien
| | 01:28 |
monster, whatever he is, has a round ear
and he's wearing a prosthetic, pointed
| | 01:32 |
ear So if you click in front of final
artwork to switch to the final version,
| | 01:35 |
you can see that I went ahead and
retained the appearance of this
| | 01:38 |
prosthetic pointed ear.
However I think it's a little bit too
| | 01:44 |
much, the fact that I've stroked the
actual round ear for example, I don't
| | 01:47 |
want that.
So, somehow I have got to find that ear
| | 01:51 |
layer, and if you just scroll up and down
inside of this panel, it's going to take
| | 01:55 |
your forever to find that layer.
Well, you may be familiar with this
| | 02:01 |
trick.
If you switch to the Move tool, which you
| | 02:03 |
can get by pressing the V key.
You can right click on an image element
| | 02:08 |
such as this ear here and you'll see a
list of all of the layers that have a
| | 02:11 |
pixel at that click location.
So I can see that the background appears,
| | 02:17 |
as always, if it exists and then I've got
the forest layer which is this
| | 02:20 |
photographic image as well as contrast
which I know to be an adjustment layer
| | 02:23 |
and then I've got a couple of layers
called elipse one and elipse two so
| | 02:26 |
apparently, in addition to the stroking
problem.
| | 02:31 |
I have some layer name problems.
I'll go ahead and click on ellipse one.
| | 02:35 |
not even sure what it is, but if I scroll
down a little bit here inside of the
| | 02:39 |
layers panel I can see that I've got
three layers associated with the left
| | 02:42 |
ear, and then I've got three layers
associated with the right ear.
| | 02:47 |
And all of them are named ellipse
followed by a number because I originally
| | 02:50 |
drew them with the ellipse tool.
Alright, so that's no good, I need to
| | 02:54 |
rename them.
Here's how.
| | 02:56 |
I'll go ahead and double click on the
words ellipse 3 there.
| | 03:00 |
And I'll rename this guy enter ear let's
say r, for right.
| | 03:05 |
Now I want to rename the next layer, so
instead of pressing the enter key or the
| | 03:08 |
return key on the Mac.
I'll just press the tab key In order to
| | 03:11 |
select that next layer name like so.
And this happens to be the outer ear.
| | 03:17 |
So I'll go ahead and call it outer ear r.
R for right of course.
| | 03:22 |
And then I'll tab to the next layer down.
And this is the pointy ear right there.
| | 03:28 |
And so I'll call it fake ear tip let's
say, r.
| | 03:32 |
And now I know a set of come up with
different layer naming conventions for
| | 03:35 |
the right ears, then the left ears.
So, I'm going to go ahead and back up by
| | 03:39 |
pressing Shift Tab several times until I
select ear L Inner.
| | 03:45 |
And then I'll go ahead and double click
on Inner, press Control X or Command X on
| | 03:48 |
the Mac in order to cut it.
Press the Backspace key or the Delete key
| | 03:52 |
on a Mac in order to back up to the L
there, so I don't have an extra space.
| | 03:56 |
I'll click at the beginning of the layer
name and I'll press Control V.
| | 04:00 |
Or Command V on a Mac to paste inner in,
and then I'll press the Space Bar in
| | 04:03 |
order to add a space.
Of course, I could have just retyped the
| | 04:06 |
darn thing, but that's the way I decided
to work.
| | 04:09 |
And then I'll Tab to the next Layer name,
and I'll change it to outer ear l like
| | 04:13 |
so, and then I'll Tab to the final line
and I'll go ahead and, let's say, I'll
| | 04:17 |
get rid of the l and readd it at the end
of Layer name.
| | 04:24 |
And then, I'll add the word, Fake, at the
beginning of the layer.
| | 04:27 |
And then I'll press the Enter key, or the
Return key on a Mac, in order to accept
| | 04:30 |
those changes.
So, the idea, of course, here, is that
| | 04:34 |
when you're renaming multiple layers at a
time, especially when they're sequential,
| | 04:37 |
you can just double click on one.
And then, instead of having to double
| | 04:42 |
click on each and every one that you want
to rename, you just press the Tab key to
| | 04:45 |
move down the list, or Shift Tab to move
up the list.
| | 04:49 |
Finally, I want to get rid of those
strokes and now I know that they're
| | 04:53 |
associated with outer ear L and outer ear
R so I'll go ahead and expand the layer
| | 04:57 |
effects for outer ear L by clicking on
that formerly down pointing arrowhead n
| | 05:01 |
the far right hand side.
And then I'll turn off this stroke, and
| | 05:07 |
then I'll go ahead and collapse the layer
effects.
| | 05:10 |
And now, I'll expand the layer effects
for outer ear R, and I'll turn off it's
| | 05:13 |
stroke and you can see that it goes away,
right there.
| | 05:16 |
And then, I'll go ahead and collapse
those layer effects as well.
| | 05:21 |
And that friends, is how you find a layer
that you want to modify, by right
| | 05:25 |
clicking with the Move tool, as well as
how you rename a sequence of layers, by
| | 05:29 |
pressing Tab and Shift Tab here inside
Photoshop.
| | 05:34 |
| | Collapse this transcript |
| Refining the Layers list using filter icons| 00:00 |
Another thing that you can do when you're
working inside documents that contain
| | 00:04 |
lots and lots of layers is you can refine
the layers that you see listed inside the
| | 00:08 |
Layers panel.
By applying these filtering options.
| | 00:13 |
Across the top of the panel and notice
here next to the word kind which appears
| | 00:17 |
by default.
We have a little magnifying glass, and
| | 00:20 |
that indicates that these options serve
as searching functions as well.
| | 00:24 |
So for example let's say I just want to
see the type layers.
| | 00:28 |
Inside of this document.
Then I click on the T icon, which, as you
| | 00:32 |
can see, says Filter for Type Layers.
And then I'll just see these two type
| | 00:37 |
layers right there.
One of which is visible, and one of which
| | 00:41 |
is currently hidden.
And so, if I wanted to go ahead and check
| | 00:46 |
out this type layer, happens to be this
guy, right there.
| | 00:51 |
And I'm zooming in on it, by the way, by
pressing the Control and Spacebar keys.
| | 00:56 |
That's Cmd+Spacebar on the Mac, and
dragging to the right inside the Image
| | 01:00 |
window.
And so you can see, this particular type
| | 01:03 |
layer is the size of his underpants, it
turns out, and the layer has a warp
| | 01:07 |
function applied to it as well.
Now if you want to be able to see all
| | 01:12 |
your layers once again, there's two ways
to operate.
| | 01:15 |
One is you can turn off the filtering by
clicking on this little red switch.
| | 01:20 |
So, if you click there, the filter is
off, and we are seeing a list of all the
| | 01:23 |
layers inside the document.
If we click again, you are going to turn
| | 01:27 |
the filter on.
Another option is to click on the T
| | 01:30 |
again, and that'll turn the type filter
off, so that we're seeing all layers
| | 01:33 |
inside the image.
You can also filter for multiple layers
| | 01:38 |
at once, so if I go ahead and click on
the T, in order to view the type layers,
| | 01:41 |
and then I click on this icon, which
allows me to filter for smart objects.
| | 01:47 |
By the way, every single one of these
options here includes a tip, so that you
| | 01:51 |
can see the first one Filters for pixel
layers, the next guy over for adjustment
| | 01:55 |
layers.
This fourth option is for vector-based
| | 01:59 |
shape layers, and then the final one is
for smart objects.
| | 02:04 |
And now that I have the type layer and
smart objects layer icons turned on, I
| | 02:07 |
can see all four of my smart objects.
As well as my 2 type layers, whether
| | 02:13 |
they're visible or not, and when I say I
can see them, of course I mean here
| | 02:17 |
inside the layers panel.
One other thing I want you to know, so
| | 02:22 |
I'll go ahead and turn off both of these
icons so that we're seeing the full list
| | 02:25 |
of layers.
If I scroll down to the bottom of the
| | 02:28 |
list, you can see that I've got this
group right here.
| | 02:31 |
It's currently hidden.
And if I twirl open the group by clicking
| | 02:35 |
on the triangle in front of the folder
Then I reveal a total of three layers
| | 02:39 |
inside of this group.
Notice that one of those layers is an
| | 02:43 |
adjustment layer.
Well, let's say I decide to filter
| | 02:46 |
according to adjustment layers by
clicking on the little black and white
| | 02:49 |
circle icon up here at the top of the
panel.
| | 02:52 |
Then, I will see my three adjustment
layers, including a couple that are
| | 02:55 |
clipped, as indicated by the little arrow
icons right there.
| | 02:59 |
But I'm not seeing the groups.
So the groups always disappear when you
| | 03:02 |
apply these filtering options.
All right so I'll go ahead and click on
| | 03:07 |
this icon once again in order to reveal
all of the 60 plus layers inside this
| | 03:10 |
document.
So that's how you refine exactly which
| | 03:14 |
layers you see inside the Layers Panel.
According to whether they're pixel-based
| | 03:20 |
layers, adjustment layers, type layers,
vector-based shape layers, or smart
| | 03:25 |
objects by clicking on the filtering
icons at the top of the layers panel.
| | 03:31 |
| | Collapse this transcript |
| Searching by name, effect, and blend mode| 00:00 |
In this movie, I'll introduce you to the
other filtering criteria that are
| | 00:04 |
available when searching for layers
inside the layers panel.
| | 00:08 |
So, notice if you click on the word Kind
here, you have a list of criteria that
| | 00:11 |
are available to you.
First example, I can choose Name, and
| | 00:14 |
then I get a search field.
Go ahead and click in the search field
| | 00:18 |
and enter for example, Ear, since I know
that I have a bunch of ear layers.
| | 00:22 |
And not only do I see the three layers
devoted to the left ear as well as the
| | 00:26 |
three devoted to the right.
But I also see this hidden text layer
| | 00:30 |
which begins with the word Fear, which
after all, contains ear so in other words
| | 00:34 |
you're searching for partial words as
well.
| | 00:38 |
Next, you can search for Layer Effect.
And by default it's going to be set to
| | 00:43 |
bevel and emboss, which is the top most
layer of that.
| | 00:46 |
But you can switch it to one of the other
ones.
| | 00:47 |
For example, I can select strobe.
And you can see that this illustration
| | 00:51 |
has a lot of stroked layers assigned to
it.
| | 00:55 |
I can also switch to something like
overlay.
| | 00:58 |
Now, that's not the blend mode, by the
way.
| | 01:01 |
Overlay, stands for color, gradient, and
pattern overlays.
| | 01:05 |
So, if you want to search for any of
those interior effects, you select
| | 01:07 |
overlay.
An interesting thing to know about
| | 01:10 |
searching for layer effects is that
Photoshop is only going to return those
| | 01:14 |
layer effects that are visible.
So, for example, I'll go ahead and scroll
| | 01:19 |
down the list to this layer right there,
arms T, which is this top pair of arms.
| | 01:24 |
I'll go ahead an expand the Layer
Effects.
| | 01:26 |
And notice that we have three layer
effects that are turned on.
| | 01:29 |
And then two, Inner Glow and Pattern
Overlay that are currently turned off.
| | 01:33 |
So, the reason that arms T is showing up
in the search is because Gradient Overlay
| | 01:37 |
is turned on.
If I were to click on this layer, just to
| | 01:41 |
make clear that it's selected here, and
then turn off Gradient Overlay, notice
| | 01:45 |
that that layer disappears from my search
criteria because now the overlay effect
| | 01:49 |
is hidden.
And we end up with these white arms as
| | 01:53 |
well.
If I press Ctrl+Z or Cmd+Z on a Mac to
| | 01:56 |
undo that change, then the arms T layer
reappears.
| | 02:01 |
Next, you can search by blend mode.
And what I'm going to do here is I'm
| | 02:04 |
going to switch to a different layer
comp.
| | 02:07 |
So, I'll bring up the layer comps panel,
and you can see I've added a layer comp
| | 02:10 |
called template to this specific file.
I'll click in front of it in order to
| | 02:14 |
switch over to it.
And it features that original pencil
| | 02:18 |
sketch set against the photographic
background.
| | 02:21 |
Now, I'll hide the layers comps panel.
And I'll go ahead and switch my blend
| | 02:24 |
mode, from Normal to Multiply.
And I'll see that I have a couple of
| | 02:28 |
layers, one of which is hidden.
The other is the sketch itself, which is
| | 02:31 |
called cartoon.
Well, go ahead and click on it to make it
| | 02:34 |
active.
Now lets imagine I want to change the
| | 02:36 |
blend mode associated with this layer, in
which case, you do so by clicking on this
| | 02:40 |
blend mode pop-up menu here.
Not the one at the top but the next one
| | 02:45 |
down.
So, let's say I change the blend mode
| | 02:48 |
from Multiply to Overlay, not because
it's going to look good, just for the
| | 02:51 |
sake of demonstration here.
Then, I end up creating a different
| | 02:55 |
effect, as you can see here on screen.
And I lose that layer because it longer
| | 02:59 |
fits the search criteria.
It would, of course, if I went ahead and
| | 03:02 |
switched over to Overlay, then, I'll see
that layer once again.
| | 03:07 |
And I could click on it and change it
back to Multiply.
| | 03:10 |
in which case, it's going to not only
change in appearance on screen but we're
| | 03:14 |
going to lose that layer inside the
layers panel as well.
| | 03:18 |
Compare that to if I switch back to
Multiply, click on the layer to select
| | 03:22 |
it, and then mistakenly, I go up to this
first blend mode pop-up menu and change
| | 03:26 |
this to Overlay.
I'm not going to change the appearance of
| | 03:31 |
the layer because I didn't affect the
layer.
| | 03:33 |
Rather, I just affected the search
criteria.
| | 03:36 |
And I'm making a big deal about this
because this is a mistake that I find I
| | 03:40 |
make all the time, just because these
Blend Mode pop-up menus are so close to
| | 03:43 |
each other.
All right.
| | 03:46 |
Now, let's take a look at Attribute,
which gives you access to a bunch of
| | 03:50 |
different search criterias.
Notice by default, it's set to Visible.
| | 03:54 |
So, we're seeing all the visible layers
associated with this particular layer
| | 03:57 |
comp, which are not very many, as you can
see.
| | 04:00 |
But I could switch over to something
else, such as, Advanced Blending, in
| | 04:03 |
which case I'm going to see all these
little badges here, these double square
| | 04:06 |
badges, which indicate some kind of
advanced blending going on.
| | 04:11 |
Which as you may recall, if I double
click on, this arms T layer once again.
| | 04:16 |
In order to bring up the Layer Style
dialog box, means this group of options
| | 04:20 |
down here, in the lower central portion
of the dialog box.
| | 04:24 |
And in the case of this specific layer,
it's this checkbox right there, which is
| | 04:28 |
turned on.
By default, that checkbox is turned off.
| | 04:31 |
So, that's all the advance blending
that's going on.
| | 04:34 |
And more importantly, notice that
Photoshop returns all the layers that
| | 04:37 |
have advance blending associated with
them, whether the layers are visible or
| | 04:41 |
not.
You also have these various Not options,
| | 04:45 |
so you have a Not version of every single
one of the criteria.
| | 04:49 |
If I choose Not Visible, I'm going to see
an awful lot of layers subject to this
| | 04:54 |
layer comp.
But if I go ahead and bring up the Layer
| | 04:57 |
Comps panel once again, which you can get
to by choosing Layer Comps from the
| | 05:00 |
Window menu.
And I click in front of final artwork,
| | 05:04 |
then I'll see that just a few of these
layers are hidden.
| | 05:07 |
Now that leaves just one more group of
filtering criteria, Color.
| | 05:11 |
And I'll show you how that option works,
and how you can show and hide entire
| | 05:15 |
groups of layers on the fly in the next
movie.
| | 05:20 |
| | Collapse this transcript |
| Color property, hide, show, and lock| 00:00 |
In this movie, I'll show you how to
filter your layers according to their
| | 00:03 |
color properties, as well as how you can
hide and show, and even lock, entire
| | 00:07 |
groups of layers at a time.
Now, by color properties, I mean the
| | 00:12 |
color that you assign to the layer here
inside the layers panel, not the color of
| | 00:16 |
the layer itself.
So the fact that the monster is green is
| | 00:20 |
not something you can search for.
Instead, just so you know what I'm
| | 00:24 |
talking about, if I press Control Shift
N, or Command Shift N on the Mac, to
| | 00:27 |
bring up the new layer dialogue box,
notice that you have this color option
| | 00:31 |
right there, and it exclusively shows up
inside the layers panel.
| | 00:36 |
For example, I'll go ahead and cancel out
here, and I'll switch the search criteria
| | 00:40 |
back to Kind, and because none of the
icons are selected, I'm seeing the full
| | 00:43 |
list of layers.
Notice that I have several layers here
| | 00:48 |
that are set to Yellow.
And what yellow means to me, in the
| | 00:52 |
context of this particular file, is that
the layer is an additional detail inside
| | 00:56 |
the image.
So, for example, I have this layer called
| | 01:00 |
Eyelids L.
If I turn it off, you can see that the
| | 01:03 |
left eyelids go away, to reveal that
entire bloodshot eye.
| | 01:08 |
I'll go ahead and turn that layer back
on, so that the eye's not quite so
| | 01:11 |
creepy.
Let's say I want to colorize a few
| | 01:13 |
additional details.
For example, the underside of the nose
| | 01:17 |
right here, is something that I'd like to
make yellow.
| | 01:20 |
Now I happen to have the rectangular
Marquee tool active, which means I can
| | 01:24 |
get to the Move tool by pressing and
holding the Control key, or the Command
| | 01:27 |
key on the Mac.
And then, if I right click on a nostril,
| | 01:31 |
and by the way, you can also pull this
off on a Mac by Command Control clicking,
| | 01:34 |
then I'll see a list of layers in this
location including Nose Edges.
| | 01:40 |
So I'll go ahead and select that, and
then I see the Nose Edges layer right
| | 01:43 |
here inside the list.
I'll go ahead and right click inside this
| | 01:47 |
area that contains the eye ball, and then
I can change the color of this layer to
| | 01:51 |
yellow.
I want to do the same thing for this edge
| | 01:55 |
of the belly right here.
So I'll press the Control key, or the
| | 01:58 |
Command key on the Mac, and right-click
once again and then choose Belly, and
| | 02:01 |
that will go ahead and select this layer.
And I'll right-click inside of its
| | 02:06 |
eyeball area and change it to yellow as
well.
| | 02:09 |
Now, I can return to the search criteria,
up here in the top left corner of the
| | 02:13 |
Layers panel, and switch to Color.
And then you can see, that by default I'm
| | 02:18 |
seeing all those layers that have no
color assigned to them whatsoever.
| | 02:22 |
To see those detail layers, I'll go ahead
and switch the color to Yellow, like so.
| | 02:27 |
Then I'm going to see this big long list
of layers, to which I've assigned yellow.
| | 02:31 |
To select them all, go up to the Select
Menu and choose All Layers.
| | 02:35 |
Or you also have the keyboard shortcut
that I'll be using in the future, Control
| | 02:39 |
Alt A, or Command Option A on the Mac.
Now let's say I want to hide all these
| | 02:44 |
layers so i can see what the monster
looks like without these details.
| | 02:47 |
What you do is right click inside that
eyeball area, which is yellow in our
| | 02:50 |
case, and you choose Hide this Layer,
from the top of the list, and then all
| | 02:53 |
those layers go away.
The other color that I'm using inside
| | 02:58 |
this document is violet, which indicates
all of the shading layers.
| | 03:02 |
So I'll go ahead and choose Violet, and
you can see that we have, not quite as
| | 03:05 |
long of a list this time.
I'll press Control Alt A, or Command
| | 03:09 |
Option A, in order to select all of those
layers, and then I'll right click inside
| | 03:12 |
this purple eye region and I'll choose
Hide This Layer for these layers as well.
| | 03:18 |
And by the way, this method for hiding
and showing layers works regardless of
| | 03:22 |
your search criteria.
So whether it was layer effects, or blend
| | 03:26 |
modes, or what have you, you could do
this as well.
| | 03:29 |
All right, now, at this point, having
gotten an idea of what's going on without
| | 03:32 |
those layers.
Obviously, they make an important
| | 03:35 |
contribution.
I'll go ahead and bring all the layers
| | 03:37 |
back by opening up the Layer Comps panel,
and clicking in front of Final Artwork
| | 03:40 |
once again.
You also have the option of hiding the
| | 03:45 |
other layers inside the image.
So, for example, if I switch my search
| | 03:49 |
criteria back to yellow, and then I go
ahead and press Control Alt A, or Command
| | 03:52 |
Option A on the Mac, to select all those
layers, that's the important step, by the
| | 03:55 |
way, is that you select them.
Then, right-click inside this yellow
| | 04:01 |
area, and notice this second command,
Show Hide All Other Layers.
| | 04:06 |
If I go ahead and choose that, that will
hide all the layers that are not
| | 04:09 |
currently selected.
Now you might assume that you could just
| | 04:14 |
press Control Z, or Command Z on the Mac,
in order to bring those layers back, but
| | 04:17 |
that's not an option.
If you go up to the Edit menu, notice
| | 04:22 |
that the Undo command is set to Select
All Layers, so that's what you'd end up
| | 04:25 |
undoing, which is why layer comps are so
handy.
| | 04:29 |
And I realize we haven't really talked
about them yet, but we will before this
| | 04:32 |
chapter is over.
And so in my case I'm going to bring back
| | 04:35 |
all the layers by bringing up the Layer
Comps panel, and clicking in front of
| | 04:38 |
Final Artwork once again.
Just one more thing I want to pass along
| | 04:42 |
here.
Notice that all the yellow layers are
| | 04:45 |
selected.
And at this point, I can go ahead and
| | 04:48 |
lock them down if I want to, just by
clicking on Lock All, or on this Lock
| | 04:51 |
Position icon.
I can't lock down transparency, notice
| | 04:55 |
that that first icon is dimmed.
And the reason is because many of the
| | 05:00 |
selected layers are vector based shape
layers as opposed to pixel layers.
| | 05:04 |
But, if I wanted to lock down the
highlights I could, just by clicking on,
| | 05:08 |
for example, the Lock All icon, and then
I have Lock icons all the way down over
| | 05:12 |
here on the right side of the panel.
And that, friends, is how you filter your
| | 05:19 |
layers based on color properties, as well
as how you hide, show and lock entire
| | 05:24 |
groups of layers at a time.
| | 05:28 |
| | Collapse this transcript |
| Deleting empty layers; replacing fonts| 00:00 |
In this movie, I'll show you a couple of
practical applications for search
| | 00:03 |
criteria.
Namely, we'll hunt down and get rid of
| | 00:06 |
empty layers inside of a composition, and
search and replace fonts.
| | 00:11 |
Now as I was saying, this particular
composition contains more than 60 layers,
| | 00:15 |
and the more layers you add to a file,
the more likely it is that you're
| | 00:18 |
going to make small mistakes as you work,
and one of the most common mistakes is to
| | 00:22 |
create a layer that you never actually
use.
| | 00:26 |
And if you want to clean things up, just
make sure that your final is as
| | 00:30 |
streamlined as possible, then change the
search criteria in the upper left corner
| | 00:34 |
of the Layers panel to Attribute, and
then click on the second option here and
| | 00:37 |
change it to Empty, and you'll see a list
of every layer that's empty inside of the
| | 00:41 |
image.
So I have this More Hair layer that
| | 00:47 |
apparently does not contain any hair at
all, and then some unnamed layers as
| | 00:50 |
well.
To delete those layers press Control Alt
| | 00:54 |
A, or Command Option A on a Mac, and then
just press the Backspace key on the PC,
| | 00:58 |
or the Delete key on the Mac.
Now in my case that's not working because
| | 01:03 |
on a PC these popup menus are sticky.
You can see this little blue line around
| | 01:07 |
the word Empty.
In which case, go ahead and press the
| | 01:10 |
Escape key, in order to deactivate that
option, and then press the Backspace key
| | 01:14 |
in order to delete the selected layers.
And, you can delete them with impunity,
| | 01:19 |
because after all, Photoshop is telling
you that there is not a single pixel
| | 01:23 |
active inside the layer.
Alright, now let's take a look at
| | 01:27 |
searching and replacing fonts.
We'll go ahead and switch over to this
| | 01:32 |
document here.
This document happens to make use of the
| | 01:35 |
font Skia, which is created and
distributed by Apple, and therefore it's
| | 01:39 |
commonly available on the Mac.
However, if you're working on a PC, then
| | 01:44 |
more likely than not, you're going to end
up with this error message right here,
| | 01:47 |
that tells you that some of the fonts are
missing.
| | 01:50 |
In which case, just go ahead and click
okay.
| | 01:52 |
And now notice, here inside the list,
that we have text layers all over the
| | 01:56 |
place with these little warnings next to
them.
| | 02:00 |
To get rid of all the clutter, go ahead
and switch the search criteria back to
| | 02:04 |
Kind, and then click on the little T icon
so that you're only seeing the text
| | 02:08 |
layers inside of the image.
Now, because all of these text layers
| | 02:15 |
have warning icons next to them, at least
in my case, then you can press Control
| | 02:19 |
Alt A, or Command Option A on a Mac, in
order to select all those layers, then
| | 02:22 |
press the T key in order to switch over
to the Type tool here.
| | 02:29 |
Which you can also select from the
toolbox.
| | 02:32 |
Then, select the font option up here and
dial in any other font you like.
| | 02:36 |
In my case I'm going to type in Skia.
Which may not seem like it makes any
| | 02:40 |
sense.
But, its a different version of Skia that
| | 02:42 |
you can download for free on the
internet.
| | 02:45 |
And then I'll go ahead and press the
Enter key, or the Return key on the Mac,
| | 02:48 |
in order to apply that change.
Now, everything about this process is as
| | 02:53 |
streamlined as you can imagine, except
this part right here, where Photoshop has
| | 02:58 |
to warn you over and over again that
you're replacing a missing font.
| | 03:04 |
So you just have to sit there and click
on the Okay button until those merciless
| | 03:07 |
alert messages go away.
But in any event, now you can see that
| | 03:12 |
all of my text layers have updated.
If that doesn't turn out to be the effect
| | 03:16 |
you want, then just go ahead and switch
over to a different font.
| | 03:20 |
For example, I'll select the Font option
and dial in Myriad, which will
| | 03:23 |
automatically get me Myriad Pro, and I'll
press the Enter or Return key to
| | 03:26 |
automatically update the text layers this
time around.
| | 03:31 |
And the reason I didn't get the alert
messages, is because the text layers were
| | 03:34 |
associated with the font that's installed
in my system.
| | 03:38 |
Now, some of these text layers, as you
can see, are a little bit squished, so
| | 03:41 |
I'm going to go ahead and bring up my
Character panel here, which you can also
| | 03:44 |
get to by choosing Character from the
Window menu, and I'm going to click in
| | 03:47 |
the Horizontal Scale option.
It says that my text is scaled to 100%,
| | 03:52 |
but that's not actually true for all the
layers.
| | 03:55 |
So I'll just go ahead and press the Up
arrow key, and press the Enter key in
| | 03:59 |
order to increase that value to 101.
And then I end up getting more or less
| | 04:04 |
properly scaled text.
If you don't want 101, you really want
| | 04:08 |
100%, then click in that option, and
press the down arrow key, and then press
| | 04:11 |
the enter key, or the return key on a
Mac, in order to apply that change.
| | 04:17 |
So there you have it, just two of the
many, possible practical applications of
| | 04:21 |
the search criteria.
In one case a way to hunt down and
| | 04:26 |
destroy empty layers, and in the other
case, a way to search and replace fonts
| | 04:30 |
here inside Photoshop.
| | 04:34 |
| | Collapse this transcript |
| Grouping layers by name| 00:00 |
In this movie, I'll show you how
searching layers by name can expedite the
| | 00:04 |
process of grouping layers inside of a
complex document.
| | 00:08 |
But first I'm going to start things off
with this nifty little trick.
| | 00:12 |
Over the course of the last few movies,
I've been entering all sorts of filtering
| | 00:16 |
criteria.
For example, my Color is set to Yellow,
| | 00:19 |
my Attribute is set to Empty, which no
longer produces any results.
| | 00:23 |
Mode is set to Multiply, last time
around, Effect is set to Overlay and so
| | 00:28 |
forth.
Let's say you want to clear out all of
| | 00:31 |
those Filter settings.
What you do is you press the Alt key or
| | 00:34 |
the Option key on the Mac and click on
the little filter switch right there, and
| | 00:37 |
that goes ahead and switches you back to
Kind.
| | 00:42 |
And it clears out everything else you've
done.
| | 00:44 |
Notice the name field is empty, the
effect is set back to bevel and emboss,
| | 00:47 |
the color down here at the bottom is
restored to none.
| | 00:52 |
And so forth.
Alright and I'm going to switch back to
| | 00:55 |
Kind here, so that we can see all the
layers inside the image.
| | 00:59 |
Now if you want to be able to search by
name, then you need to name your layers.
| | 01:03 |
So I can't stress how important it is to
assign names to your layers, as you're
| | 01:07 |
working inside your documents in
Photoshop.
| | 01:11 |
Then what you do is either switch the
search criteria back to name, or, another
| | 01:15 |
way to work is to go up to the select
menu and choose fine layers which has
| | 01:18 |
this keyboard shortcut of mash your fist
F.
| | 01:23 |
So Ctrl+Shift+Alt+F on a PC,
Cmd+Shift+Option+F on a Mac, and that's
| | 01:26 |
going to go ahead and automatically
select name as well as activate the name
| | 01:30 |
option here.
And then you can just go ahead and enter
| | 01:34 |
a name, such as ear, for example, in
order to show all the ear layers.
| | 01:39 |
Now I don't want this text layer to be
part of the group, so I'll click on the
| | 01:42 |
top ear layer, and Shift click on the
bottom one to select this range.
| | 01:47 |
And then the way I prefer to work, as
opposed to pressing Ctrl+G or Cmd+G on
| | 01:51 |
the Mac, is to go up to the layers panel
flyout menu, and then choose new group
| | 01:54 |
from layers, and that way, you'll get
this dialog box, and you can enter ears
| | 01:57 |
for your group name and click Okay.
And that'll show you that you now have
| | 02:04 |
this new group called ears.
So its just a way of confirming that
| | 02:08 |
you've done the right thing.
Now I'm going to select that name option
| | 02:11 |
again.
And I'll enter arm.
| | 02:13 |
And notice by the way, that I don't want
to enter more characters than I need.
| | 02:18 |
For example, check out this list here.
We've got a total of five layesr, but if
| | 02:23 |
I change just to arms, then I lose a
layer.
| | 02:27 |
So just bear that in mind as you work
along here.
| | 02:30 |
So we want the word arm singular.
Then, go ahead and press Control+Alt+a,
| | 02:33 |
or Command+Option+a on the Mac to select
all those layers.
| | 02:37 |
Go up to the layers panel flyout and you
choose New Group from layers.
| | 02:41 |
And name the new group arms.
Let's do the same for the legs, but this
| | 02:44 |
time I'm going to take advantage of the
keyboard shortcut.
| | 02:47 |
So I'll press Control+Shift+Alt+F.
Or Command-Shift-Option-F on the Mac.
| | 02:52 |
And the advantage there is that goes
ahead and selects the old name so you can
| | 02:56 |
just enter a new one, such as leg
singular, and then I'll go ahead and
| | 02:59 |
select all these layers by pressing
Control-Alt-A or Command-Option-A on a
| | 03:02 |
Mac Click the Flyout Menu icon, Choose
New Group from Layers, call the new group
| | 03:06 |
legs, and then press the Enter key or the
Return key on the Mac.
| | 03:13 |
One more item we want to search for,
we'll press Control Shift Alt F, or
| | 03:16 |
Command Shift Option F on the Mac, in
order to select the name, and then I'll
| | 03:19 |
enter hair this time around.
Press Control Alt A, or Command Option A
| | 03:24 |
on the Mac to select all of the layers,
go to the Flyout Menu, Choose New Group
| | 03:27 |
from Layers, and call the group hair.
Alright, now at this point we can reveal
| | 03:33 |
all the layers inside the image and get a
sense for which layers still need to be
| | 03:36 |
grouped.
By pressing the Alt key or the Option key
| | 03:40 |
on a Mac, and clicking on a switch in
order to clear out all of out settings.
| | 03:44 |
And I can see here up at the top I've got
this Highlights layer.
| | 03:47 |
I'll turn it off, and notice we lose the
highlights on the top of the monster's
| | 03:51 |
head.
So I'll go ahead and turn that back on.
| | 03:53 |
The reason I'm showing you that is
because there's this other Highlights
| | 03:56 |
layer right there.
If I turn it off, we lose the highlights
| | 03:59 |
inside of the eyes.
So I outta go ahead and rename this
| | 04:03 |
layer, Eye Highlights, like so and then
I'll turn it back on because it's an
| | 04:07 |
integral part of this composition.
Now notice that not all of the eye's
| | 04:13 |
layers Are labelled eyes, they don't all
have a common word inside of them.
| | 04:17 |
For example, we've got pupils and veins
so we're going to have to group these
| | 04:21 |
guys manually.
But it's a lot easier to tell what's
| | 04:24 |
going on because so much of our
composition is now grouped.
| | 04:29 |
So, I'll go ahead and click on Eyelets L,
then I'll scroll down the list to Bag 1
| | 04:33 |
and I'll Shift click on it in order to
select this entire range.
| | 04:37 |
And this time, I'll just press Ctrl+G, or
Cmd+G on the Mac, in order to group those
| | 04:42 |
guys into a group that's automatically
named Group 1.
| | 04:46 |
And then I'll double click on that and
rename it Eyes.
| | 04:50 |
Now, I'll click on Nose Holes, right
there, and I'll just scroll down the list
| | 04:53 |
until I come to the Arms Group.
I'll Shift Click on Mouth Crease, the
| | 04:57 |
layer right above and I'll press Control
G or Command G on the Mac in order to
| | 05:00 |
group those layers together, and I'll
rename this group Nose and Mouth so
| | 05:03 |
obviously I have a sense of what is going
on inside of this composition.
| | 05:09 |
Now notice Hand Shadows right there
doesn't contain the word Arm so it didn't
| | 05:13 |
end up going into the Arms group, but it
really ought to, because it represents
| | 05:17 |
these shadows behind the arms that are
being cast onto the creature's body.
| | 05:23 |
So I'll just go ahead and grab that later
and drag it and drop it onto the group,
| | 05:26 |
and if you twirl open the Arms Group.
Now you'll see that Hand Shadows
| | 05:31 |
automatically appears at the back of the
group, so whenever you drag and drop a
| | 05:35 |
layer into a closed group.
It appears at the bottom of that stack,
| | 05:39 |
and then if that's not what you want you
can move it to a different location.
| | 05:43 |
But as it turns out that is what we want,
so Ill go ahead and Twirl Arms Close,
| | 05:46 |
then I'll click on Belt Loops and scroll
down until I come to Size Tag which
| | 05:50 |
represents all the clothes associated
with this guy, and then I'll press
| | 05:53 |
Control G or Command G on a Mac in order
to group those guys together...
| | 06:01 |
And I'll rename this group, clothing.
And then I'll click on Button, Shift
| | 06:05 |
click on Body.
So, these 4 layers, right there, press
| | 06:08 |
Control G, Command G on a Mac, and rename
this layer body.
| | 06:12 |
Then notice I've got this layer right
here, called Curly Cue.
| | 06:15 |
Adds this curling hair near the top of
the monster obviously it is the hair so I
| | 06:19 |
need to drag it and drop it into the hair
group that will land it at the bottom of
| | 06:22 |
that group which is just fine really
doesn't matter.
| | 06:27 |
And then I've got these 2 shadow layers
right there which represent the shadow in
| | 06:30 |
front of the creatures body.
I'll go ahead and select both of them.
| | 06:34 |
Press control g or command g on the Mac
to group them together and rename this
| | 06:38 |
group shadow.
And notice, we now have a much tidier
| | 06:42 |
group of layers inside of the layers
panel.
| | 06:46 |
In fact, I can see almost all these
layers and groups at a glance, even on
| | 06:49 |
this very tiny screen.
And now if you want to review your groups
| | 06:53 |
and make sure everything's organized the
way it should be Then you can Alt click
| | 06:56 |
or Option click on the I in front of the
Body Layer and sure enough there are all
| | 06:59 |
the layers that make up the body.
I'll go ahead and turn on the legs, any
| | 07:04 |
arms groups as well, might as well turn
on these two background items, Forest and
| | 07:09 |
Contrast.
Don't turn on the Fade layer, however,
| | 07:12 |
and I can turn on both the Hair and the
Ears groups.
| | 07:16 |
Now we get the hair and the ears inside
the image window, I'll turn on nose and
| | 07:19 |
mouth and eyes and that fills in all the
features inside the monster's face turn
| | 07:23 |
on its shadow that's its shadow that's
being cast in front of the monster.
| | 07:28 |
Go ahead and scroll to list and turn on
this highlights layer for the highlights
| | 07:32 |
on top of his head.
He's a little bit nude at this point, so
| | 07:35 |
to provide him with some dignity, I'll
turn on the Clothing group in order to
| | 07:39 |
add his belts and his cut-offs and so
forth.
| | 07:42 |
So assuming you've taken the time to name
your layers, that's how you search your
| | 07:47 |
layers by name in order to make quick
work of grouping here inside Photoshop.
| | 07:53 |
| | Collapse this transcript |
| Masking groups and effects in one operation| 00:00 |
In this movie, I'll show you how to
create a subgroup, which is pretty easy
| | 00:04 |
stuff.
And just FYI, you can create subgroups
| | 00:07 |
inside subgroups up to ten groups deep.
And then I'll show you how you can assign
| | 00:11 |
a Layer Mask to an entire group at a
time.
| | 00:14 |
And the idea here is that, I think these
eye bags over here on the left hand side,
| | 00:18 |
should fade out a little bit.
They're too crisp right now, in order to
| | 00:23 |
create this final effect here.
So, here's how that works.
| | 00:27 |
I'll go ahead and switch over to my
document in progress and then I'll twirl
| | 00:30 |
open the Eyes group up here at the top of
the stack.
| | 00:34 |
And I'll scroll down until I find Bags
one through three.
| | 00:38 |
So, I'll go ahead and click on Bag Three
and Shift+click on Bag One to select that
| | 00:41 |
entire range of Layers.
Now, I could mask each one of them
| | 00:45 |
independently, by the way, by clicking on
a Layer and then clicking on the Add
| | 00:48 |
Layer mask icon.
Right now it's dimmed.
| | 00:52 |
And that's because over the course of
things here, I've managed to Lock these
| | 00:55 |
three Layers if I go ahead and select
them all and then turn off the lock.
| | 01:00 |
And of course, I can assign layer masks
to each one of them, but I can only
| | 01:04 |
assign that mask one layer at a time.
Or, I can go ahead and group these guys
| | 01:09 |
together which is what I want to do.
And I'll do so just by pressing Ctrl+G or
| | 01:14 |
Cmd+G on a mac.
And notice that creates a nested group
| | 01:18 |
that's inside the larger eyes group.
And I'll go ahead and rename this guy,
| | 01:23 |
eye bags, like so.
And then, I'll assign a layer mask by
| | 01:27 |
clicking on the Add Layer Mask icon at
the bottom of the panel.
| | 01:31 |
So, you can assign layer masks to entire
groups if you so desire.
| | 01:35 |
Now, I'm going to twirl open this group
because I want selective control over
| | 01:40 |
each one of the eye bags here, including
the drop shadows in everything.
| | 01:46 |
So, in order to fade away this bottommost
eye bag, which is bag 1, by the way, and
| | 01:50 |
you can see that if you turn off that
eyeball and then turn it back on.
| | 01:55 |
I'll go ahead and load the selection
outline associated with bag 2 by pressing
| | 01:58 |
the Ctrl key or the Cmd key on the Mac
and clicking on its thumbnail.
| | 02:03 |
And that goes ahead and selects this
region.
| | 02:05 |
I want to protect this area, so I want to
deselect it and select everything outside
| | 02:10 |
of it, which means going to Select >
Inverse or pressing Ctrl+Shift+I or
| | 02:14 |
Cmd+Shift+I on the Mac.
Now, switch to the Brush tool, which, of
| | 02:20 |
course, you can get by pressing the B key
and I'll right click inside the image
| | 02:23 |
window.
And notice that I have the size cranked
| | 02:26 |
up to 400 pixels.
And I have the hardness cranked down to
| | 02:30 |
0%.
So, we have a very soft brush.
| | 02:33 |
You'll also want to press the D key
followed by the X key, in order to ensure
| | 02:37 |
that the foreground color is black.
So, that we're going to paint away this
| | 02:41 |
eye bag.
And then I'll press Ctrl+H or Cmd+H on
| | 02:44 |
the Mac to hide my selection, just so I
can better see what I'm doing.
| | 02:48 |
And I'll go ahead and paint, like so.
And if that turns out to be too much,
| | 02:51 |
which I think in my case it is, then I'll
reduce the size of my cursor by pressing
| | 02:55 |
the left Bracket key a few times.
And I'll press the X key to switch my
| | 02:59 |
foreground color back to white.
And I'll go ahead and paint in some
| | 03:03 |
detail like so.
And of course you can paint back and
| | 03:06 |
forth to whatever extent you like.
I just press the X key to make my
| | 03:10 |
forefront color black.
And then I'll paint away a little more of
| | 03:13 |
this particular eye bag.
All right.
| | 03:15 |
Now, let's say you want to paint inside
the second one right there.
| | 03:18 |
Then press the Ctrl key or the Cmd key on
a Mac and click on bag 2 in order to load
| | 03:22 |
it as a selection.
And then we want to protect the third
| | 03:27 |
bag, the front one, and you do so by
pressing the Ctrl+Alt keys, with the
| | 03:31 |
Cmd+Option keys on the Mac, and clicking
on the bag 3 thumbnail here inside the
| | 03:35 |
layers panel.
And then just this region right here is
| | 03:40 |
selected.
Now press Ctrl+H or Cmd+H on the Mac in
| | 03:43 |
order to hide the selection.
And I'll paint away some of that eye bag
| | 03:47 |
like so.
And then, finally, I'll go ahead and load
| | 03:50 |
the bag 3 selection by just Ctrl+clicking
or Cmd+clicking on its thumbnail right
| | 03:54 |
there.
And I'll press Ctrl+H or Cmd+H on a Mac
| | 03:58 |
to hide the selection outline and I'll
paint like so.
| | 04:03 |
All right.
Now we have a little bit of a harsh edge
| | 04:06 |
right there at that location.
So, I'm going to press Ctrl+D or Cmd+D on
| | 04:10 |
the Mac, in order to deselect the image.
And I'll increase the size of my cursor,
| | 04:15 |
by pressing the right bracket key a few
times.
| | 04:18 |
And finally, I want to reduce the Opacity
value up here in the options bar, by
| | 04:22 |
pressing the 5 key to take it down to
50%, as you see here.
| | 04:27 |
And then I'll just go ahead and paint,
like so, over the right edge of those
| | 04:31 |
bags.
Then I'll press the X key, in order to
| | 04:34 |
switch my foreground color back to white.
And I'll go ahead and paint back in some
| | 04:38 |
of the eye bags, in order to achieve this
effect here.
| | 04:42 |
And notice by the way, throughout this
experience, we've been masking both the
| | 04:46 |
layers and their effects.
So, if I were to double-click on an empty
| | 04:50 |
portion of this group in order to bring
up the Layer Style dialog box, normally,
| | 04:54 |
had we gone about masking each one of
these layers independently, I would have
| | 04:58 |
had to turn on Layer Mask Hides Effects
in order to mask the effects as well.
| | 05:05 |
But because we're operating on an entire
group, we don't need to turn on this
| | 05:08 |
checkbox at all.
Either way, we get the exact same effect.
| | 05:13 |
So, I'll just go ahead and cancel that.
In any case, that's all there is to it.
| | 05:18 |
We've now managed to very selectively
mask a nested subgroup of layers,
| | 05:23 |
including their effects, here inside
Photoshop.
| | 05:28 |
| | Collapse this transcript |
| Expanding and collapsing all groups and effects| 00:00 |
In this movie I'll show you how to both
expand, and collapse every single group
| | 00:05 |
as well as every single layer effect and
smart filter inside the layers panel.
| | 00:11 |
So the idea is this once you start
amassing a ton of layers inside of a
| | 00:14 |
document things can get very gnarly here
inside the layers panel with some groups
| | 00:19 |
open and some group closed and some
effects expand and others collapsed and
| | 00:22 |
so forth.
And typically what you do is you just
| | 00:28 |
expand and collapse one item at a time.
For example, I'll go ahead and scroll up
| | 00:32 |
my list here, and I'll the little
triangle there to twirl the eye bags
| | 00:36 |
subgroup closed.
And then, I'll continue to scroll up the
| | 00:40 |
list and I'll twirl close the eyes group
that contains that subgroup as well.
| | 00:45 |
And now everything's nice and tidy inside
the panel.
| | 00:48 |
Now, if I were to expand just the eyes
group then I would reveal the contents of
| | 00:52 |
that group but that subgroup would remain
closed because that was its last state.
| | 00:59 |
What if instead, you want to expand
everything?
| | 01:02 |
Well what you do is you press the Control
key or the Command key on a Mac and you
| | 01:06 |
click on one of these triangles for any
one of the groups, and that will go ahead
| | 01:10 |
and expand everything as you see here, so
every single group is now expanded, and
| | 01:14 |
again that's a function of Control
clicking, or on the Mac Command clicking
| | 01:18 |
on the little triangle in front of any
one of the groups.
| | 01:26 |
If you want to collapse and single one of
the groups, then you control click or
| | 01:29 |
command click on any one of those
triangles once again.
| | 01:33 |
And as you can see, they are now all
collapsed.
| | 01:37 |
Compare this to, if I go ahead and expand
everybody once again, by control clicking
| | 01:41 |
or command clicking on one of those
triangles.
| | 01:45 |
Compare that to expanding and collapsing
effects.
| | 01:48 |
So if I were to just click on this stand
pointing triangle, on the far right side
| | 01:52 |
of the layers panel.
I go ahead and expand the layer effects
| | 01:56 |
that are assigned to this specific layer.
If this were a smart object and it had
| | 02:00 |
smart filters assigned to it, I would
also see a list of those smart filters.
| | 02:05 |
If I click what is now an up pointing
arrow head Then I'll collapse that single
| | 02:08 |
layer.
If you want to expand every single layer
| | 02:11 |
inside the panel then you press the Alt
key or the Option key on the Mac.
| | 02:16 |
Not control or command this time it's alt
or option.
| | 02:19 |
And notice if I alt or option click that
arrowhead, now I can scroll down the list
| | 02:24 |
and seeing Every single layer effect
revealed.
| | 02:28 |
If you want to hide them once again, you
press the Alt key, or the Option key on
| | 02:32 |
the Mac, and click what is now an up
pointing arrow head in order to collapse
| | 02:35 |
every single one of those effects.
Now you may wonder, well, why in the
| | 02:40 |
world is a Control or Command click for
groups in it's alter option Click, or
| | 02:44 |
Effects in Smart Filters.
Here's the reasoning.
| | 02:48 |
One final keyboard trick that I want to
share with you.
| | 02:52 |
I'll go ahead and Control Click or
Command Click on the triangle in front of
| | 02:54 |
that Clothing Group, although it could
have been the triangle in front of any of
| | 02:57 |
the groups for that matter, in order to
collapse them.
| | 03:02 |
If you press both the Control and Alt
keys, or Command and Option on the Mac,
| | 03:06 |
and click one of these triangles in front
of any one of the folders, then you're
| | 03:09 |
not only going to expand the groups, but
you're also going to expand the layer
| | 03:13 |
effects and the smart filters.
And then, of course, if you want to
| | 03:19 |
collapse everything so you have the ultra
tidy view of your objects here, inside
| | 03:22 |
the layers panel.
Then you press and hold the Control and
| | 03:26 |
Alt keys or Command and Option on a Mac.
And click on the triangle, in front of
| | 03:31 |
any one of the folder icons.
And that's how you expand and contract
| | 03:35 |
all groups as well as all layer effects
and smart filters, here inside the layers
| | 03:41 |
panel.
| | 03:43 |
| | Collapse this transcript |
| Introducing layer comps| 00:00 |
In this movie, I'll introduce you to
Layer Comps, which allow you to save the
| | 00:04 |
visibility of a layer or group, that is,
whether it's turned on or off, as well as
| | 00:08 |
Appearance attributes including Opacity,
Blend Modes, and Layer effects.
| | 00:15 |
And Layer Comps can be useful for
creating design variations inside of a
| | 00:18 |
single image file, as well as graphic
alternates for a client, for example.
| | 00:23 |
We'll be using Layer Comps in order to
demonstrate the stages in the creation of
| | 00:27 |
this artwork.
To get to the Layer Comps panel, go up to
| | 00:31 |
the Window menu and choose Layer Comps.
And then, you'll see where this image is
| | 00:36 |
concerned, a total of seven Layer Comps
in a row right here.
| | 00:41 |
We can tell that the final Layer Comp is
active, because it has a little page icon
| | 00:44 |
in front of it.
You can switch between Layer Comps by
| | 00:48 |
clicking in the little box in front of
the Comp, like so.
| | 00:52 |
And in this case, I've switched to the
Facial Features comp.
| | 00:55 |
You can also advance through the Comps,
by clicking on these arrow icons at the
| | 00:58 |
bottom of the panel.
So, let's say I decide to start with
| | 01:02 |
final artwork.
I'll go ahead and click in front of it,
| | 01:05 |
so it's active.
And then, if I click on the right
| | 01:07 |
pointing arrowhead, I'll cycle around to
the very first Layer Comp in the stack,
| | 01:11 |
joint sketch, which is that pencil sketch
that Sam and I created together.
| | 01:17 |
And then, I can go ahead and advance from
there to the template version of the
| | 01:21 |
image and so forth.
Now, if you loaded dekes, I've gone ahead
| | 01:25 |
and setup keyboard shortcuts to go
forward and backward through the Layer
| | 01:29 |
Comps.
And so, to go forward, you press mash
| | 01:33 |
your fist F12, that is to say
Ctrl+Shift+Alt+F12 here on a PC or
| | 01:37 |
Command+Shift+Option+F12 on the Mac.
And that way, I can just advance all the
| | 01:44 |
way through the various stages of this
artwork like so.
| | 01:47 |
If you want to move backwards, it's the
same thing, but F11.
| | 01:51 |
So, Ctrl+Shift+Alt+F11 here on the PC or
Command+Shift+Option+F11 on the Mac.
| | 01:59 |
So that's really all there is to working
with Layer Comps, once you've created
| | 02:02 |
them, of course.
But let me show you what happens if
| | 02:05 |
something goes wrong with your Layer
Comps.
| | 02:07 |
I'll go ahead and switch to this version
of the image here.
| | 02:10 |
That contains a total of five out of the
seven Layer Comps that are available in
| | 02:14 |
the other file, because we'll be creating
those missing too in the next movies.
| | 02:19 |
But for now, I want you to notice that we
have some caution icons next to three of
| | 02:23 |
the comps and these are the comps that
have existed over the course of the last
| | 02:26 |
few movies.
The reason that they have these caution
| | 02:31 |
icons is because we deleted those empty
layers a few movies back, and anytime you
| | 02:35 |
delete a layer after creating a comp,
then you get this alert message telling
| | 02:38 |
you that something is missing.
But in our case, it turns out not to be a
| | 02:44 |
problem at all because we can just update
the comp so that it doesn't remember
| | 02:48 |
those old layers and here's how that
works.
| | 02:52 |
You want to go ahead and click in front
of the comp in question, in my case final
| | 02:56 |
artwork, in order to make it active, and
then just make sure that everything you
| | 02:59 |
see on-screen is the way you want it to
be.
| | 03:04 |
In which case, drop down to this little
Update icon at the bottom of the panel
| | 03:07 |
and click on it, and that will update the
Layer Comp, so it has no memory of the
| | 03:11 |
missing layers, and as a result, the
caution icon disappears.
| | 03:16 |
Now, I'll go ahead and advance to joint
sketch, which looks totally great, no
| | 03:19 |
problem, so I'll click on the Update icon
for it as well.
| | 03:23 |
And then, I'll advance to the Template
Layer which also looks exactly the way it
| | 03:27 |
should.
So I'll click on that Update icon a final
| | 03:30 |
time.
Now, of course, if there had been some
| | 03:32 |
problems and you do have to keep a
careful eye out to make sure that nothing
| | 03:35 |
is missing.
Then you pour over your layers and turn
| | 03:39 |
the layers on or off that need to be
changed.
| | 03:41 |
In my case, however, I'm just going to go
ahead and advance through my remaining
| | 03:45 |
Layer Comps to just make sure that they
look fine until I arrive at the final
| | 03:49 |
version of the artwork shown here.
And so, there you have basics for working
| | 03:55 |
with Layer Comps as well as updating
them.
| | 03:58 |
In the next movie, I'll show you how to
create a custom Layer Comp of your own.
| | 04:04 |
| | Collapse this transcript |
| Creating a dynamic layer comp| 00:00 |
In this movie, I'll show you how to
create your own custom Layer Comp, and in
| | 00:03 |
our case, it's going to be this
variation, Additional Shading.
| | 00:07 |
I'll go ahead and click in front of it in
order to switch to that Comp.
| | 00:11 |
And so, the idea is we want to create a
cool color variation of the monster with
| | 00:15 |
all of the shading intact.
So I'll go ahead and switch over to our
| | 00:19 |
file in progress here.
And for the most part, what we want to do
| | 00:22 |
is remove some gradient overlays.
And these gradient overlays are
| | 00:26 |
responsible for the green color scheme
inside of the monsters flesh, and on his
| | 00:31 |
arms and legs, and so forth.
To see those gradient overlay effects, go
| | 00:36 |
up to the search criteria pop up menu in
the upper left corner of the Layers
| | 00:40 |
panel, and switch to Effect.
And then, change the second pop up menu
| | 00:45 |
from its default setting of Bevel and
Emboss to Overlay, and you'll see this
| | 00:49 |
long list of layers here.
Now, we need to be able to see the Layer
| | 00:53 |
effects, so press the Alt key or the
Option key on a Mac, and click anyone of
| | 00:57 |
the down pointing arrowheads along the
right side of the Layers panel in order
| | 01:00 |
to expand all the effects.
And then, go ahead and scroll all the way
| | 01:06 |
to the bottom of the panel, like so, and
turn off the Color Overlay effect that's
| | 01:10 |
assigned to the Forest layer.
Now, as soon as you do that, the Forest
| | 01:14 |
layer will disappear, because it no
longer matches our search criteria.
| | 01:18 |
You can skip the Cartoon Layer at the
bottom of the stack and move up to fake
| | 01:22 |
ear tip R.
Now, I want to get rid of both the Inner
| | 01:25 |
Shadow and the Gradient Overlay in this
case.
| | 01:28 |
But if I turn of Gradient Overlay first,
then I'll lose this layer and I won't be
| | 01:32 |
able to turn off Inner Shadow without
either switching or clearing out the
| | 01:36 |
search criteria.
So the better thing to do, just to keep
| | 01:40 |
this guy on screen for a moment, is to
turn off Inner Shadow first, and then
| | 01:43 |
turn off Gradient Overlay like so.
And now, of course, that layer
| | 01:48 |
disappears.
Now, we've got outer ear R in its place.
| | 01:52 |
Just turn off Gradient Overlay in this
case.
| | 01:54 |
Next, we've got fake ear tip L.
Turn off Inner Shadow first and then turn
| | 01:58 |
off Gradient Overlay.
And, of course, you can go your own way,
| | 02:02 |
by the way, here.
This is just the effect I came up with.
| | 02:05 |
I'm going to turn off Gradient Overlay
for outer ear R as well.
| | 02:09 |
Now, we've got the leg layers right here.
For leg R, I'll turn off Gradient
| | 02:13 |
Overlay.
For leg L, I'll do the same.
| | 02:15 |
For the Body Layer, I'll turn off
Gradient Overlay, and then for the Button
| | 02:19 |
Layer, which is this guy's belly button
right there, I'll turn off Gradient
| | 02:23 |
Overlay as well.
Next, come the two arms layers.
| | 02:27 |
And again, all we need to do is turn off
Gradient Overlay for one.
| | 02:31 |
Turn off Gradient Overlay for the other.
All that's left is these eyelids right
| | 02:36 |
there and they appear at the top of the
stack, so go ahead and scroll your way to
| | 02:39 |
the top.
You'll see the Highlights Layer, go ahead
| | 02:43 |
and ignore that one, and next, you should
see eyelids L, go ahead and turn off
| | 02:46 |
Gradient Overlay for it, as well as
eyelids R.
| | 02:50 |
And then, you want to turn off the
Gradient Overlay for bag 3, bag 2 and bag
| | 02:55 |
1 which represent these eyebags right
here.
| | 03:00 |
Finally, you want to drop down to this
Tooth layer, and turn off its Gradient
| | 03:04 |
Overlay in order to produce this blanched
version of the monster that you see
| | 03:07 |
on-screen now.
Alright, now, let's save off our work as
| | 03:12 |
the Layers gone.
Because, after all, even though, the fact
| | 03:15 |
that we have these filtering options here
in the Layers panel.
| | 03:19 |
That's made our lives way easier than it
would have been in the past.
| | 03:22 |
But it's by no means the kind of thing
that you want to do on a regular basis.
| | 03:25 |
So to save things off, drop down to the
little page icon on the bottom of the
| | 03:29 |
Layers Comp panel and click on it.
That displays the New Layer Comp dialog
| | 03:34 |
box.
Go ahead and name this Comp Additional
| | 03:37 |
Shading or something along those lines,
and make sure to turn on Visibility.
| | 03:42 |
That'll keep track of which layers and
which layer groups are visible and
| | 03:45 |
invisible.
It also keeps track of whether the Layer
| | 03:49 |
Mask assign to a layer or a group is
turned on.
| | 03:52 |
You want to turn position off in our
case.
| | 03:55 |
And I dare say, in most cases as well,
because position keeps track of the X and
| | 03:59 |
Y coordinates of the objects on all the
layers, which would be useful if you plan
| | 04:03 |
on moving an object from one comp to the
next.
| | 04:08 |
Problem is, if you then turn around and
decide you want to move this entire
| | 04:11 |
monster to a new location, and you kept
track of its position, where any of these
| | 04:15 |
Layer Comps is concerned, that's going to
throw you off.
| | 04:20 |
And I'll actually show you what I mean by
that in a future movie.
| | 04:23 |
But for now, again, just leave the
checkbox off.
| | 04:25 |
And then, we definitely want Appearance
to be turned on, because that will keep
| | 04:29 |
track of the fact that we turned all of
those Gradient Overlay effects off.
| | 04:33 |
Now, click OK in order to create that
comp and I'm going to move it by dragging
| | 04:37 |
it to between white Monster and final
artwork, so it appears at this stage in
| | 04:41 |
the development of the composition.
And now, I can click in front white
| | 04:47 |
monster to see what it looks like, notice
that none of the shading is intact where
| | 04:51 |
this comp is concerned.
Now, here's our new comp and then here's
| | 04:56 |
the final version of the artwork.
And Photoshop at all times is keeping
| | 05:00 |
track of exactly what's going on with the
various layers.
| | 05:04 |
And we haven't lost a single bit of our
work.
| | 05:07 |
Now presumably at this point, you want to
go ahead and tidy-up the Layers Panel by
| | 05:10 |
Alter Option clicking on anyone of the
up-pointing arrowheads along the right
| | 05:14 |
side of the panel.
And then go ahead and Alt or Option,
| | 05:18 |
click on the little switch icon at the
top of the panel in order to clear out
| | 05:21 |
the search criteria.
And that, friends, is how you create a
| | 05:26 |
variation on your artwork, as well as
save out that variation as an entirely
| | 05:31 |
dynamic layer comp.
| | 05:34 |
| | Collapse this transcript |
| Applying a mode or effect to an entire group| 00:00 |
In this movie, I'll show you how to apply
a blend mode as well as a layer effect to
| | 00:04 |
an entire group of layers.
And in doing so we'll create this effect
| | 00:09 |
here.
So, I'm looking at the contents of the
| | 00:11 |
seven stages dot PSD document, and I've
switched over to the base shapes comp
| | 00:15 |
here inside the Layer Comps panel.
And you can see that we're seeing through
| | 00:20 |
the shapes to the template layer below.
And I've also assigned a stroke around
| | 00:24 |
the contents of all of the shapes as a
whole.
| | 00:28 |
As opposed to each shape independently.
We're going to start off inside of this
| | 00:32 |
document in which I switch to the
additional shaving comp that we created
| | 00:36 |
in the previous movie.
And I want you to notice over here in the
| | 00:41 |
Layers panel, in order to make some of
the other comps work that I created for
| | 00:44 |
you in advance, I've created this larger
group called arms body legs ears that
| | 00:48 |
contains the arms, body, legs and ears
groups.
| | 00:54 |
So I just want you to know that's there.
All right, so starting from this vantage
| | 00:57 |
point, I'm going to turn off the
highlights layer all the way down to the
| | 01:01 |
clothing group.
So I'm just clicking and dragging down
| | 01:04 |
the eyeball column.
And I'll do the same for the hair and
| | 01:07 |
shadow groups as well.
Then I'm going to turn on this fade
| | 01:11 |
adjustment layer located down here near
the bottom of the stack.
| | 01:15 |
The next step is to go up to the select
menu and choose find layers or you can
| | 01:19 |
press that keyboard shortcut in order to
activate the name option and I'm going to
| | 01:23 |
enter the word Fake which brings up the 2
fake ear layers and I'm going to turn
| | 01:27 |
both of those guys off.
Then I'm going to switch from name to
| | 01:33 |
effect and I'm going to change the effect
to inner shadow which is going to bring
| | 01:36 |
up a whole slew of layers and I want to
be able to see their layer effects so
| | 01:40 |
I'll press the alt key or the option key
on the mac and click any of the down
| | 01:43 |
pointing arrowheads.
On the right side of the panel, in order
| | 01:49 |
to expand all the layers.
And then I'll scroll down to the bottom
| | 01:53 |
of the list, at which point I'll see the
outer ear R layer.
| | 01:57 |
I want to turn the stroke on, so go ahead
and do so before we turn the inner shadow
| | 02:00 |
effect off, and then turn off inner
shadow, at which point that layer will go
| | 02:04 |
away.
Go ahead and turn off the inner ear R
| | 02:08 |
layer entirely, that is turn off its
visibility Then go up here to Outer Ear
| | 02:12 |
L, turn on its stroke and turn off its
inner shadow and it will disappear.
| | 02:18 |
Then turn off Inner Ear L entirely as
well, and again there's a lot of busy
| | 02:22 |
work associated with generating these
layer variations, but in the long run
| | 02:26 |
it's worth it.
I'll go ahead and scroll up the list so I
| | 02:31 |
can see the Leg layers.
And I'll turn off the inner shadow for
| | 02:34 |
Leg R as well as for Leg L and then I'll
turn off the Inner Shadow for the body as
| | 02:39 |
well.
Now scroll up the list and turn off the
| | 02:44 |
Button layer as well as the two layers
below it which represent the belly and
| | 02:47 |
the sort of rippling abs.
Alright, now we need to get rid of the
| | 02:53 |
shadow layers here and the easiest way to
do that is to change the search criteria
| | 02:56 |
in the upper left corner of the layers
panel from effect to color and then
| | 02:59 |
change the color from none to violet.
Now press Ctrl+Alt+A or Command option a
| | 03:06 |
on a Mac in order to select all those
violet layers.
| | 03:10 |
Then right click in the eyeball icon and
choose hide this layer in order to make
| | 03:14 |
all that shading go away.
Now you'll want to clear your search
| | 03:18 |
criteria by pressing the alt key or the
option key on the mac and clicking on the
| | 03:22 |
switch icon.
Alright now that you can see all the
| | 03:25 |
layers in groups inside your document
click on the arms, body, legs, ears super
| | 03:29 |
group in order to make it active and then
change the blend mood in the upper left
| | 03:32 |
corner of the layers panel.
To multiply in order to produce this
| | 03:38 |
effect here.
So you're multiplying the contents of the
| | 03:41 |
entire layer group at one time.
Then you want to drop down to this
| | 03:45 |
template group and turn it on so you can
see the pencil drawing in the background.
| | 03:50 |
The click on the template group to make
it active.
| | 03:52 |
And assuming that you rectangular mark
key tool is selected just tap the 3 key
| | 03:57 |
in order to reduce the opacity of that
entire group to 30%.
| | 04:02 |
Then go ahead and return to the arms body
legs ears super group And drop down to
| | 04:06 |
the fx icon.
And choose stroke.
| | 04:10 |
In order to apply stroke to the content
of all of these layers at once.
| | 04:15 |
Make sure position is set to outside.
Your inside the layer style dialogue box.
| | 04:19 |
The blend mode should be normal.
The opacity should be a 100%.
| | 04:22 |
The colors should be black.
And now just go ahead and dial in a
| | 04:26 |
really big size value like 12 pixels and
you can see that you're stroking not each
| | 04:30 |
independent layer, but rather the group
as a whole, which is an extremely
| | 04:34 |
powerful option here inside Photoshop.
Now I don't want it to be that thick so
| | 04:40 |
I'm going to drop the value down to 6
pixels And then click Okay to create the
| | 04:43 |
effect you see on screen.
Now let's go ahead and save off our work
| | 04:48 |
as a Layer Comp by clicking on the little
Page icon at the bottom of the Layer
| | 04:51 |
Comp's panel.
Make sure that Visibility and Appearance
| | 04:55 |
are turned on.
And that position is turned off.
| | 04:58 |
And go ahead and call this new comp Bay
Shapes, and click Okay.
| | 05:02 |
We want the Bay Shapes to appear right
between Template and Facial Features.
| | 05:08 |
So just go ahead and drag it up the list
and drop it into place.
| | 05:11 |
And now if you click Forward here.
To facial features for example, you'll
| | 05:15 |
see that stroke disappear and that
everything is working exactly the way
| | 05:19 |
it's supposed to.
Problem is, depending upon what version
| | 05:23 |
of Photoshop you're using, you may
experience a bug.
| | 05:26 |
Let me show you what that bug looks like.
I'm going to switch back to my base
| | 05:29 |
shapes layer, and I'll go up to the File
menu and choose the Save as command, and
| | 05:33 |
then I'm going to replace this file that
I've created for you in advance called
| | 05:37 |
Base shapes bug.psd.
I'll go ahead and click the save button
| | 05:42 |
and save over that file File, just so
that I have that file saved to disk.
| | 05:47 |
And the reason this is so important is
that the way the file is created right
| | 05:51 |
now doesn't save properly.
And to see what that looks like, click in
| | 05:55 |
front of the template layer in order to
make it active.
| | 05:58 |
That will invoke the asterisk up here in
the title tab, which is telling us that
| | 06:01 |
we have unsaved changes.
In order to restore the same version of
| | 06:06 |
the file and thereby demonstrate that
what we've done so far didn't get saved
| | 06:10 |
properly go up to the file menu and
choose the revert command and then a
| | 06:13 |
moment later we should see the stroked
version of those shapes.
| | 06:20 |
Now if you arrow your way through here by
clicking on the forward arrow button at
| | 06:23 |
the bottom of the layer comps panel you
can see that that stroke is remaining in
| | 06:26 |
place.
For the facial features comp, for the
| | 06:31 |
white monster comp, for the additional
shading comp, and for the final artwork,
| | 06:34 |
which obviously is no good.
So what we've gotta do to solve the
| | 06:38 |
problem Is click in front of facial
features, in order to make it active,
| | 06:42 |
then go over to the layers panel.
Make sure that you can see the effects
| | 06:47 |
that are assigned to the group, and go
ahead and turn off effects.
| | 06:51 |
Now Photoshop shows that you are no
longer matching any of the comps, because
| | 06:54 |
the little page icon doesn't appear
inside facial features.
| | 06:58 |
To update that comp drop down to the
update icon, and click on it Then advance
| | 07:01 |
to white monster by clicking the right
pointing arrow down here at the bottom of
| | 07:05 |
the panel.
Turn off effects again and go ahead and
| | 07:09 |
update that comp.
Then advance to the next one, additional
| | 07:13 |
shading, turn off effects over here in
the layers panel, update the comp.
| | 07:18 |
And finally, go ahead and advance to
final artwork, turn off the effect, and
| | 07:22 |
update the comp.
Alright, now just to make sure that those
| | 07:26 |
changes will get saved I'm going to go
over to the 7 stages.psd document, and
| | 07:30 |
I'm going to close it.
And I don't want to save my changes, so
| | 07:34 |
I'll click No here, in the PC, that would
be the Don't Save button on the Mac.
| | 07:38 |
And then, with my file and progress up on
the screen, I'll go up to the file menu
| | 07:42 |
and choose the Save As command.
And then I'll just go ahead and
| | 07:46 |
recklessly save over that 7 stages.psd
document.
| | 07:51 |
If you prefer not to damage that
document, then you can give your file a
| | 07:53 |
different name.
And I'll click the Save button, and click
| | 07:57 |
Okay in order to replace the previous
version of that file.
| | 08:01 |
And after a few moments, when I see that
the file is saved, I'll just go ahead and
| | 08:04 |
switch to any old comp, such as base
shapes here.
| | 08:08 |
Now we'll invoke the asterix up here in
the title tab, which tells me I have
| | 08:11 |
unsaved changes, so let's go ahead and
load the saved version of the document by
| | 08:15 |
going to the file menu and choosing the
Revert command, and a second or two later
| | 08:18 |
I'll see the final version of the
artwork.
| | 08:22 |
I'll switch back to base shapes with its
thick stroke...
| | 08:26 |
And then I'll advance to the other
groups, and sure enough, those thick
| | 08:30 |
strokes are going away because I turned
of the effect assigned to that Arms,
| | 08:34 |
Body, Legs, and Ears group.
So it's a little but ardous where the
| | 08:39 |
layer counts are concerned.
But that's how you go about assigning a
| | 08:42 |
Blend Mode.
As well as a layer effect to an entire
| | 08:46 |
group of layers, as well as save out a
layer comp and troubleshoot your other
| | 08:51 |
comps here inside Photoshop.
| | 08:55 |
| | Collapse this transcript |
| Moving many layers without upsetting comps| 00:00 |
In this movie, I'll show you how, thanks
to the fact that we've kept our layer
| | 00:03 |
comps nice and flexible and they're not
paying attention to the position of the
| | 00:07 |
various layers, we can move the monster
around without adversely affecting those
| | 00:11 |
layer comps.
So, you may wonder why, where this
| | 00:16 |
composition is concerned, the monster
appears so far over to the left hand side
| | 00:20 |
of the image.
And that's because I wanted to make room
| | 00:24 |
for a caption, down right.
And that caption appears at the very top
| | 00:28 |
of the layer stack.
To see the caption, go ahead and turn on
| | 00:31 |
this top text layer.
And, you'll see it appear right there.
| | 00:35 |
Now the thing is now that I see the
caption, it occurs to me that the monster
| | 00:39 |
is still too far over to the left.
I want to scoot him over to the right, so
| | 00:43 |
I'll click on this highlights layer to
make it active.
| | 00:46 |
And then I'll go ahead and turn on this
Template Group down here near the bottom,
| | 00:50 |
so I can keep track of the template as I
work.
| | 00:53 |
And I'll Shift-Click on that Template
Group to select that entire range of
| | 00:56 |
layers and groups that make up the
monster.
| | 00:59 |
And then I'll go ahead and scoot the
monster over by pressing the Control and
| | 01:02 |
Shift keys, that's Command and Shift on
the Mac.
| | 01:07 |
Along with the right Arrow key.
And as soon as I do I'll see this Alert
| | 01:10 |
Message that's telling me that some of
the layers are locked.
| | 01:14 |
So I'll click OK, in order to acknowledge
the message, and then I'll click on the
| | 01:17 |
Lock icon near the top of the Layers
panel in order to turn it off.
| | 01:23 |
Now, I'll press the control and shift
keys again, that's command and shift on
| | 01:26 |
the Mac, and I'll press the right arrow
key a total of eight times.
| | 01:30 |
So one, two, three, four, five, six,
seven, eight, in order to nudge the
| | 01:34 |
monster over a total of eighty pixels.
And now I'll turn off the template layer
| | 01:40 |
in order to see the result.
And now if I bring up the layer comps
| | 01:44 |
panel I can cycle between the layer comps
just by clicking on this right arrow
| | 01:48 |
icon, or if you loaded, d, keys, you can
press ctrl+shift+alt+F12.
| | 01:54 |
That's Cmd+Shift+Option+F12 on the Mac,
and notice, first time I do, I'll switch
| | 01:58 |
to the Joint Sketch comp, and you can see
that the original pencil sketch has
| | 02:02 |
scooted over to the right, and so have
all the other versions of these comps
| | 02:05 |
including Template.
Base shapes, facial features, white
| | 02:11 |
monster, additional shading, and of
course, final artwork.
| | 02:15 |
So everything's moved into place exactly
where it needs to be.
| | 02:19 |
And I stress, the reason for that is, I I
double-click on any one of these comps,
| | 02:22 |
you can see that the visibility and
apperance check boxes are turned on.
| | 02:27 |
But the Position checkbox is turned off.
Had it been turned on then I would have
| | 02:31 |
saved the original location of the
monster along with each one of the comps
| | 02:35 |
and I would have had to have updated
everyone of these comps independently
| | 02:38 |
which would have been a pain in the neck.
So turning this checkbox off Actually
| | 02:44 |
provides you with a lot of flexibility.
Unless you have a reason for turning it
| | 02:49 |
on.
Alright, I'll just go ahead and cancel
| | 02:52 |
out of this stylus box.
Now of course, for the final version of
| | 02:55 |
my composition.
I want the caption turned on, so I'll go
| | 02:58 |
ahead and turn on the text layer.
At the top of the stack and with the
| | 03:02 |
final artwork layer comp selected I'll
drop down to the bottom of the panel and
| | 03:06 |
click on the Update icon in order to save
off my work.
| | 03:12 |
And now that I've done so, I'll go ahead
and press the F key a couple of times in
| | 03:15 |
order to switch to the full screen mode
and zoom in as well.
| | 03:19 |
And that's the final version of the
artwork.
| | 03:21 |
Thanks to some very advanced layer
functions, here, inside Photoshop.
| | 03:27 |
| | Collapse this transcript |
|
|
42. ActionsThree incentives for recording actions| 00:00 |
This chapter is all about actions.
An action allows you to record a sequence
| | 00:05 |
of operations so you can play back those
operations automatically.
| | 00:10 |
So the upshot is the next time you find
yourself performing a series of steps
| | 00:14 |
that you've performed before, you ought
to go ahead and record those steps as an
| | 00:18 |
action, and that'll help to eliminate
some of the drudgery of working in
| | 00:21 |
Photoshop in the future.
Now, as obvious as that argument is, I
| | 00:27 |
find that a lot of people are reticent to
use actions because they seem like more
| | 00:30 |
trouble than they're worth.
For example you've gotta figure out your
| | 00:36 |
approach sometimes you have to problem
solve, other times you have to
| | 00:39 |
troubleshoot the action to get it to work
and if you fall into that camp then I
| | 00:43 |
have three more incentives for you to use
actions in the future.
| | 00:48 |
1 you can use the batch command to plan
action on an entire folder full of images
| | 00:52 |
at a time and then you don't even have to
be there.
| | 00:56 |
Photoshop will automatically open, save
and close those files for you.
| | 01:01 |
Two, you can share actions with your
co-workers.
| | 01:04 |
So imagine for example that you're
working with folks who aren't quite as
| | 01:08 |
adept at Photoshop as you are, or you're
training someone.
| | 01:12 |
Where you're working with a larger team,
then you can hand out actions.
| | 01:15 |
We used to do this with the books all the
time.
| | 01:18 |
And then, three, an action plays back
much more quickly than you record it.
| | 01:24 |
More quickly, in fact, than you could
ever hope to perform the steps manually.
| | 01:28 |
An action plays back as quickly as
Photoshop can accommodate the
| | 01:32 |
instructions.
As Stan Lee used to say, at the speed of
| | 01:36 |
thought.
Which is to say, actions are all about
| | 01:39 |
expediency.
Which is why I recommend you watch the
| | 01:43 |
next movie as quickly as possible.
| | 01:47 |
| | Collapse this transcript |
| Introducing the Actions panel| 00:00 |
In this movie,, I'll introduce you to the
Actions panel, and I'll also show you how
| | 00:04 |
to create a new action, inside of an
action set.
| | 00:08 |
To get to the Actions panel, go up to the
Window menu and choose the Actions
| | 00:11 |
Command, or you can also press the F9
key.
| | 00:14 |
Notice, by default the Actions panel's
grouped along with the History panel,
| | 00:18 |
which makes a modicum of sense because,
after all, they both track operations.
| | 00:22 |
The difference is that the Actions panel
allows you to record those operations, so
| | 00:26 |
that you can play them back later.
If this is your first time in the panel,
| | 00:30 |
then you'll see this folder up here at
the top, called Default Actions.
| | 00:35 |
That is an action set and it contains a
series of in set actions below here.
| | 00:41 |
So Photoshop requires you to create your
actions inside of sets, which is actually
| | 00:45 |
a good thing because that way you can
organize your actions as you create them.
| | 00:51 |
Now I don't think much of the default
actions, but I will give you some
| | 00:54 |
guidance here.
Anything that says the word Selection
| | 00:58 |
requires a selection, if it says Type you
need a Type layer, Layer doesn't really
| | 01:01 |
mean anything, it just means it's going
to create a new layer for you.
| | 01:06 |
If you want to experiment with one of
these actions then just go ahead and
| | 01:09 |
click on it, such as Quadrant Colors
here, and then drop down to the Play icon
| | 01:13 |
at the bottom of the actions panel, and
click on it as well.
| | 01:18 |
One piece of advice however, before you
play back any of these actions, make sure
| | 01:21 |
that you've saved your image.
Just so that you don't lose any changes,
| | 01:26 |
because chances are good you're not
going to like what you get.
| | 01:30 |
Anyway, I'll just go ahead and click the
Play button and I end up with this
| | 01:34 |
stunner of an effect here.
If you go to the fly out menu then you'll
| | 01:38 |
see that you have access to a bunch of
other action sets as well, none of which
| | 01:42 |
are really anything to write home about.
We start with Commands, which just goes
| | 01:47 |
ahead and records single commands as if
we're trying to create keyboard
| | 01:50 |
shortcuts.
And then it ends with Video Actions,
| | 01:54 |
which converts your image between
different old-style video formats.
| | 01:59 |
The command of merit, that you might want
to know about up front, is Button Mode.
| | 02:03 |
And if you switch to it, then you'll see
each one of the actions, indicated by a
| | 02:06 |
button, at which point, now all you have
to do in order to play back an action is
| | 02:10 |
just click on it.
So I'm going to get rid of this
| | 02:14 |
background copy layer, which contains
that quadrant effect, in order to return
| | 02:18 |
to my original image.
And just to show you what I'm talking
| | 02:23 |
about, I'll click on Sepia Toning layer
and you can see that we end up with this
| | 02:26 |
effect here.
Which is again, not that great, but at
| | 02:30 |
least you can modify the results by
double-clicking on this Adjustment layer.
| | 02:36 |
Notice that the buttons have different
colors associated with them, and that
| | 02:39 |
will become important in just a moment.
I'm going to switch back from the Button
| | 02:43 |
Mode to the Standard Mode, by clicking on
Button Mode, and you have to do that if
| | 02:46 |
you want to record an action, by the way.
The Button Mode just allows you to play
| | 02:52 |
the actions back.
And then what I recommend you do, unless
| | 02:55 |
you end up falling in love with the
default actions, I recommend that you
| | 02:58 |
select the Default Actions set.
And then drop down to the little Trash
| | 03:03 |
Can icon, and Alt click on it, or Option
click on it on a Mac, in order to get rid
| | 03:06 |
of those actions without bringing up an
alert message.
| | 03:11 |
And if that seems like a fairly dramatic
thing to do, bare in mind you can always
| | 03:14 |
bring those actions back, by returning to
the fly out menu and choosing Reset
| | 03:18 |
Actions, which is going to give you back
all the default actions, so it's not like
| | 03:21 |
you can't get back to them if you want
to.
| | 03:26 |
Anyway, I'm going to go ahead and press
Ctrl+Z or Cmd+Z on a Mac to undo that
| | 03:29 |
particular operation...
I'm also going to go up to the File menu
| | 03:33 |
and choose the Revert command, in order
to restore the original version of my
| | 03:37 |
image.
Now notice these icons down here at the
| | 03:41 |
bottom of the panel, only two of which
are any longer available to us.
| | 03:45 |
Now you can create a new action by just
clicking on this little page icon, but
| | 03:49 |
that will result in a default
automatically named action set, which is
| | 03:52 |
not what you want.
So the better thing to do is to have a
| | 03:56 |
goal in mind, in the first place, of
course, and then to click on this little
| | 04:00 |
folder icon in order to create a new
action set and then you'll be asked to
| | 04:03 |
name it.
I'm going to call mine Output Actions,
| | 04:08 |
because these are going to be actions
designed for printing images, and then
| | 04:12 |
I'll click Okay.
Now, at this point, presumably you want
| | 04:16 |
to record an action, and you do that by
dropping down to the Page icon and
| | 04:19 |
clicking on it.
That will bring up the New Action dialog
| | 04:24 |
box, and I'm going to call mine, Sharpen
for Output let's say.
| | 04:28 |
I want to put it in the set called Output
actions.
| | 04:30 |
If we had more actions available to us,
then you could select them from this
| | 04:34 |
list.
Notice at the bottom here, we have this
| | 04:37 |
Color option, and that defines the color
assigned to the button inside the Button
| | 04:41 |
Mode.
So, if you want a colorful button, here's
| | 04:44 |
where you create it, but you can always
do that later, by the way, so I'm just
| | 04:47 |
going to leave mine set to none.
And you can also assign a Function key
| | 04:51 |
shortcut, starting with F1 on the Mac,
and then starting with F2 on a PC.
| | 04:57 |
And if you select one of these guys, lets
say I select F3, then you can choose to
| | 05:02 |
make the shortcut just the function key
or you can add the Shift and/or Ctrl keys
| | 05:06 |
here on the PC or the Shift and/or Cmd
keys on the MAC.
| | 05:13 |
Just bear in mind if you loaded my D
keys, that's going to end up potentially
| | 05:16 |
overriding some of my keyboard shortcuts,
which by the way start at F5.
| | 05:21 |
I don't have anything from F1 through F4,
but you may also find that you run into
| | 05:26 |
conflicts with some of the OS level
keyboard shortcuts.
| | 05:30 |
So, what I generally do, and this is just
me, is I leave the function key set to
| | 05:34 |
none and I just use the Play button in
order to play the actions back.
| | 05:40 |
Then you want to click on the Record
button in order to begin recording your
| | 05:42 |
action.
And notice now, that we have this red
| | 05:45 |
circle icon right there, which indicates
that we are in the middle of recording
| | 05:50 |
the action.
And now you would begin performing your
| | 05:54 |
operations, and as you do, each operation
gets recorded inside the action, and
| | 05:58 |
we'll see what that looks like in a
moment.
| | 06:02 |
But first I want to show you that you can
at any time stop recording just by
| | 06:06 |
clicking on the square Stop icon, or you
can just press the Escape key.
| | 06:11 |
And now we'll discontinue the recording
of the action.
| | 06:13 |
Now if you ever want to pick up the
action again, which of course we would,
| | 06:17 |
because we haven't recorded any
operations, you would just click on the
| | 06:20 |
circular Record button.
So those are the basics of using the
| | 06:24 |
Actions panel.
In the next movie, we'll begin the
| | 06:27 |
process of recording a practical action.
| | 06:31 |
| | Collapse this transcript |
| Recording a simple but practical action| 00:00 |
In this movie, I'll show you how to
record a simple but practical application
| | 00:04 |
that sharpens just the detail inside of a
flat image file.
| | 00:08 |
I'm going to start things off, by moving
the Actions panel over to the left side
| | 00:11 |
of the screen, so I can better keep track
of what I'm doing.
| | 00:16 |
A word of advice upfront, before you
begin recording an action, you want to
| | 00:19 |
make sure that you've saved any changes
to the image file you have open on
| | 00:23 |
screen.
That way after you get done recording the
| | 00:27 |
action, you can revert to the saved
version of the image, and play the action
| | 00:30 |
back to make sure it works.
Now, I've already saved off this image,
| | 00:35 |
so I'm ready to go.
I've also created a new action, inside of
| | 00:39 |
a custom action set, to resume recording,
all I need to do is click on the circular
| | 00:43 |
record button down at the bottom of the
Actions Panel.
| | 00:48 |
Now, note that not all operations are
recorded.
| | 00:51 |
For example, if I Zoom in by pressing
Ctrl+, or Cmd+ on the Mac, or I pan
| | 00:55 |
around inside the image, nothing is added
to the Actions Panel.
| | 01:01 |
We're not seeing any new operations,
which means, so far as the Actions Panel
| | 01:05 |
is concerned, nothing's happening.
You should also note, that there is no
| | 01:09 |
reason to be in a rush when you're
recording an action.
| | 01:14 |
Actions are always played back as fast as
Photoshop can play them, regardless of
| | 01:18 |
how quickly you record them.
So, I could go make myself a sandwich,
| | 01:23 |
and come back, and I would be no worse
off.
| | 01:26 |
Having said that, some things that you
might not think would be recorded, will
| | 01:30 |
be recorded.
Such as, changing key settings.
| | 01:34 |
For example, if I press the X key in
order to switch the Foreground and
| | 01:37 |
Background Colors, I can see a new
operation called Exchange Swatches.
| | 01:42 |
Photoshop also records actions that you
apply using certain tools.
| | 01:47 |
For example, if I switch to the Lasso
tool, that in and of itself is not
| | 01:50 |
recorded.
But as soon as I finish dragging with the
| | 01:54 |
tool inside of the image window, I'll see
a new step called Set Selection.
| | 02:00 |
You can see what's going on with that
step, by clicking on the little twirly
| | 02:03 |
triangle right there, in order to expand
it.
| | 02:07 |
And now notice this is a fairly complex
operation.
| | 02:09 |
First of all, Photoshop sees that it's
creating a polygonal selection outline,
| | 02:13 |
which is a little bit surprising.
It's not recording that it was created
| | 02:18 |
with the Lasso tool, but that doesn't
really matter in terms of playing it
| | 02:21 |
back.
Then we've got a total of six point
| | 02:25 |
coordinates along with 356 more, in my
case.
| | 02:29 |
Your results will vary if you're working
along with me.
| | 02:33 |
If I switch to the Rectangular Marquis
tool by pressing the M key, and just
| | 02:36 |
click Off the Selection, then I get
another Set Selection Step.
| | 02:40 |
And if I twirl it Open, I can see that
I'm setting the selection to None.
| | 02:45 |
Now, frankly, there's no harm in what
I've done, it's not going to effect the
| | 02:49 |
performance of my action one iota.
But there's no sense in these superfluous
| | 02:54 |
steps, they're just going to clutter
things up.
| | 02:57 |
And if you want to get rid of them,
here's how.
| | 02:59 |
Just go ahead and click on the square
Stop button and then, with Set Selection
| | 03:03 |
Active, go ahead and Shift click on the
top step exchange Swatches, and drop down
| | 03:08 |
to the little Trash icon and Alt or
Option click on it to delete those steps,
| | 03:12 |
as well as bypass the alert message.
All right, now, to actually sharpen the
| | 03:19 |
image.
I'll click on a circular Record button,
| | 03:21 |
to once again begin the recording
process.
| | 03:24 |
Then I'll go out to the Filter menu
choose Sharpen and choose Smart Sharpen.
| | 03:29 |
Now, the settings I came up with are an
Amount value of 250%, and then a Radius
| | 03:34 |
of 2.5 pixels.
I left Remove set to Gaussian Blur, as is
| | 03:39 |
the default setting, and I left More
Accurate turned off.
| | 03:43 |
Notice that I'm not doing anything to the
Angle value because it's dimmed, and I'm
| | 03:47 |
not modifying the Advanced settings
either.
| | 03:49 |
And yet, these will be recorded as soon
as I click the OK button.
| | 03:53 |
So notice we don't have an operation yet
inside the Actions panel, but as soon as
| | 03:57 |
I click OK, we do have a recorded step.
To see what's up with it, click on the
| | 04:02 |
Triangle.
There's the amount of 250%, there's the
| | 04:05 |
Radius value.
The angle, even though it was dimmed, is
| | 04:08 |
recorded.
And the settings default are recorded as
| | 04:12 |
well, even though we overrode them.
And all of the advanced settings that we
| | 04:16 |
didn't change, were recorded as well.
So some of that stuff you just can't
| | 04:20 |
help.
Photoshop is going to record what it's
| | 04:23 |
going to record, under many conditions.
I'm going to expand my Panel a little bit
| | 04:27 |
for the next step.
Now anytime you apply Smart Sharpen, you
| | 04:31 |
want to make sure your sharpening just
the detail inside the image, you don't
| | 04:35 |
want to be exaggerating any chromatic
differences.
| | 04:39 |
And to make sure that's the case, go up
to the Edit menu and choose Fade Smart
| | 04:43 |
Sharpen to bring up the Fade Dialogue
Box.
| | 04:46 |
And then switch the Mode to Luminosity,
and for my part I'm going to reduce the
| | 04:51 |
opacity value to 50% and click OK.
And now we can see we have a second
| | 04:56 |
Operation Fade, if I twirl it Open,
there's the Opacity Value and there's the
| | 05:00 |
Blend Mode.
Alright, that's all there is to this
| | 05:04 |
action.
So I'll stop recording either by clicking
| | 05:07 |
on the square icon, or by pressing the
Escape key.
| | 05:10 |
Now you may look at this and say, well
that's awfully darn basic, Deke, after
| | 05:14 |
all, it's just two operations.
But you can think of an action, so far
| | 05:18 |
anyway, as being a kind of expanded
keyboard shortcut.
| | 05:22 |
But rather than having a different
shortcut for every single operation, you
| | 05:26 |
can combine multiple operations into a
single shortcut, and you can record
| | 05:30 |
specific settings as well.
And what's great about this one, even
| | 05:35 |
though we've only designed it for a flat
image so far, is that it's set by default
| | 05:39 |
where this action is concerned, to
sharpen just the detail and nothing more
| | 05:43 |
inside of an image, which is always what
you want to do when apply Smart Sharpen
| | 05:47 |
inside Photoshop.
In any case, that's how you record a very
| | 05:54 |
basic action.
In the next movie I'll show you how to
| | 05:58 |
modify the recorded settings.
| | 06:00 |
| | Collapse this transcript |
| Modifying settings and playing an action| 00:00 |
In this movie I'll show you how to modify
the settings associated with a recorded
| | 00:04 |
step, and then play back your action to
make sure it works.
| | 00:08 |
As I look at the results of my sharpening
here, I'm thinking that the image really
| | 00:12 |
doesn't look all that sharp.
And if it doesn't look sharp on screen,
| | 00:16 |
it's going to look even less sharp in
print.
| | 00:19 |
And the culprit, it seems to me, is the
radius value.
| | 00:22 |
I need to increase the thickness of the
halos to make sure that they survive the
| | 00:25 |
printing process.
So the first thing you need to do before
| | 00:29 |
you modify any recorded settings Is
restore the original saved version of the
| | 00:33 |
image by going up to the File menu and
choosing the Revert command.
| | 00:39 |
And the reason is, anytime you modify
settings, you re-apply them, and of
| | 00:42 |
course, if we're sharpening on top of
sharpening, we're not going to get a
| | 00:45 |
sense of what's really going on.
So go ahead and choose Revert from the
| | 00:50 |
file menu, if you're working along with
me.
| | 00:52 |
And then go to the Actions panel here and
double-click on the step labelled Smart
| | 00:57 |
Sharpen, in order to bring back this
Smart Sharpen dialog box.
| | 01:01 |
And I'm going to go ahead and scroll over
to this section right here, this corner
| | 01:05 |
of the cliff, in order to keep track of
it.
| | 01:09 |
Now at 100%, the halo looks great.
But the 33% view on this machine is more
| | 01:14 |
representative of how the image is going
to look in print.
| | 01:18 |
So I'm going to make a couple of
adjustments.
| | 01:20 |
First of all, because this is a digital
photograph, I'm going to change Remove
| | 01:24 |
from Gaussian blur to Lens blur, and that
will give me finer halos off the back.
| | 01:30 |
As you can see here, and then I'm
going to compensate and take things a
| | 01:33 |
little farther by taking the radius value
up to four pixels, and then I'll click Ok
| | 01:37 |
in order to apply that change.
And not only did I modify the sharpness
| | 01:43 |
of the image, which now appears much
sharper on screen, but I've recorded the
| | 01:47 |
new settings here inside the actions
panels, so notice the radius value's now
| | 01:51 |
four pixels and Remove is set to Lens
Blur.
| | 01:57 |
Alright now at this point we've applied
the Smart Sharpen step, but we haven't
| | 02:00 |
applied Fade.
And there's a couple of ways to go ahead
| | 02:03 |
and resume the action.
One is to click on Fade and then click on
| | 02:07 |
the Play button to play the action from
that point forward.
| | 02:11 |
But to really see what's going on there,
to see the fade occur, we want to zoom in
| | 02:15 |
to at least 100%.
So that we can see all of these color
| | 02:19 |
artifacts that we've brought to life,
thanks to Smart Sharpen.
| | 02:22 |
Keep an eye on this corner of the cliff.
And as soon as I click on the Play button
| | 02:27 |
you'll notice that all that color
artifact, it goes away, and the
| | 02:30 |
sharpening effect in general settles way
down, thanks to the fact that we're
| | 02:34 |
fading the opacity of the effect to 50%.
All right, now let's go all the way back
| | 02:41 |
by returning to the File menu and
choosing the Revert command.
| | 02:46 |
And this will give us the opportunity to
replay the entire operation, which is
| | 02:50 |
essential, by the way, in order to get a
sense of whether the action works.
| | 02:55 |
So, strange as it may sound, you really
want to play your action on the exact
| | 02:59 |
same file you used to record it and that
will demonstrate any of the big problems
| | 03:03 |
with your action right away.
So at this point we go ahead and click on
| | 03:09 |
sharpen for output and you can play it
back in one of two ways.
| | 03:14 |
One is to just click on the play button,
the other, just so you know, is to press
| | 03:18 |
the control key or the Command key on the
Mac and double click on the Action and
| | 03:22 |
that will go ahead and play it as well.
And you may wonder why I'm sharing such a
| | 03:28 |
strange shortcut with you well that same
technique of Ctrl double-clicking, or Cmd
| | 03:33 |
double-clicking on a Mac, works on a
step-by-step basis.
| | 03:38 |
So I could return to the File menu and
choose the Revert command, and then I can
| | 03:42 |
play each one of these steps
independently by Ctrl double-clicking on
| | 03:45 |
it.
For example, first I'll Ctrl double-click
| | 03:49 |
on smart sharpen and that will just apply
the smart sharpen filter, and then I'll
| | 03:54 |
Ctrl double-click on fade, again that's a
Cmd double-click on the Mac, and that
| | 03:58 |
will just replay that fade step, in order
to produce this variation on the
| | 04:02 |
photographic landscape.
And that, friends, is how you modify an
| | 04:09 |
action's settings, and play it back on
the original version of the image, to
| | 04:13 |
make sure it works.
| | 04:16 |
| | Collapse this transcript |
| Creating a dynamically adjustable action| 00:00 |
In this movie I'll show you how to record
a dynamic version of that same action
| | 00:03 |
that involves Smart Filters.
So in other words, we're going to record
| | 00:07 |
a better version of the action and set it
up so that you can modify the settings.
| | 00:12 |
As you play the action back.
I've gone ahead and restored the saved
| | 00:16 |
version of my image using the Revert
command.
| | 00:19 |
And I'm going to create a new action by
clicking on the little Page icon at the
| | 00:22 |
bottom of the Actions panel.
And I'll call it Dynamic Sharpen, and
| | 00:27 |
then I'll click the Record button to
begin recording that action.
| | 00:31 |
The first step is to double-click on the
background in order to convert it to an
| | 00:35 |
independent layer, and I'll call this
layer Photo, and press the Enter key or
| | 00:39 |
the Return key on the Mac.
And you can see, that records the
| | 00:43 |
operation as set background, and if I
twirl it open its telling me that I'm
| | 00:46 |
setting it to a layer called photo.
Now I'll right-click inside of the image
| | 00:52 |
window with my Rectangular Marquee Tool
and I'll choose Convert to Smart Object.
| | 00:57 |
Now because Smart Sharpen was the last
filter I applied I can just press Ctrl+F
| | 01:01 |
or Cmd+F on the Mac, in order to revisit
the Smart Sharpen dialog box.
| | 01:06 |
It still has my last applied settings so
just go ahead and click OK.
| | 01:11 |
To record that operation.
And notice that even though I applied the
| | 01:15 |
operation using a keyboard shortcut,
Photoshop doesn't pay any attention to
| | 01:19 |
the shortcut, it just goes ahead and
records the step, according to the filter
| | 01:22 |
name, Smart Sharpen.
Next I want to fade back the sharpening
| | 01:28 |
effect so I'll double-click on the slider
icon to the right of the words Smart
| | 01:31 |
Sharpen here on the Layers panel.
In order to bring up the blending options
| | 01:35 |
dialog box and I'll go ahead and I'll
click on the corner of the cliff.
| | 01:40 |
So we can see all that color artifacting
that's at work inside the image.
| | 01:43 |
To get rid of it, I'll switch the Mode
from Normal to Luminosity, and then I'll
| | 01:47 |
go ahead and dial back the Opacity value
by pressing the Tab key and entering 50%,
| | 01:52 |
and then I'll click OK.
And again, that step is recorded as well.
| | 01:59 |
And notice that it's recorded.
For the current layer.
| | 02:02 |
So this is going to work with any layer
regardless of whether it's called Photo
| | 02:05 |
or not, as long as it's the last selected
layer inside the image.
| | 02:10 |
And then finally, I don't need this
filter mask, so I'll right-click inside
| | 02:14 |
the white thumbnail inside the Layers
panel.
| | 02:17 |
And I'll choose Delete Filter Mask to get
rid of it.
| | 02:20 |
That completes the action so I'll go
ahead and click on the square icon at the
| | 02:24 |
bottom of the panel or press the Esc key
to stop recording.
| | 02:28 |
Now we want to play the action back to
make sure it works, so go up to the File
| | 02:31 |
menu and choose the Revert command in
order to restore the flat saved version
| | 02:35 |
of the image.
And now you can just go ahead and play
| | 02:40 |
the action back, if you like, by clicking
on it, and then clicking on the play
| | 02:43 |
button.
Or, if you want to make it possible to
| | 02:46 |
change the settings on the fly, then
notice that we have these little squares
| | 02:50 |
to the left of the operation names, here
inside the action.
| | 02:54 |
And each one of these allows you to force
the display of the dialog box.
| | 02:59 |
So go ahead and click in the square to
the left of Smart Sharpen, in order to
| | 03:02 |
force a display of its dialog box.
And then clicking the next one down to
| | 03:07 |
force the display of the Blending Options
dialog box.
| | 03:10 |
Now click on the Play button.
And you'll see a few moments later after
| | 03:15 |
Photoshop goes ahead and converts the
image to an independent layer as well as
| | 03:18 |
a Smart Object and we see the Smart
Sharpen dialog box appear here on screen.
| | 03:24 |
And let's say I want a sharper effect
still I'll go ahead and take the amount
| | 03:28 |
value up to 300% this time and click OK.
And next I'll see the Blending Options
| | 03:35 |
dialog box.
It'll take the opacity value up to 66%,
| | 03:38 |
and click OK once again.
And now what I want you to note is that I
| | 03:43 |
changed the settings on the fly.
So in other words, if I were to expand
| | 03:47 |
the size of the Actions panel here, and
twirl open Smart Sharpen.
| | 03:53 |
The recorded amount is still 250% and the
same goes for this step right here.
| | 03:58 |
I need to expand the panel even further
here.
| | 04:01 |
We can see that the Opacity value, for
blending options, is still set to 50%.
| | 04:06 |
So those modifications we just made apply
to this application of the action only,
| | 04:11 |
not to future applications.
If for some reason, you decide you like
| | 04:16 |
these new settings, and you want to
associate them with the recorded action.
| | 04:22 |
Then just go ahead and double-click, in
this case on Smart Sharpen, enter your
| | 04:26 |
new settings such as an amount of 300%
and click OK, and now that new amount
| | 04:30 |
value will be recorded.
Now the image ends up looking terrible,
| | 04:35 |
and that's because we've heaped on
another application of the Smart Sharpen
| | 04:39 |
filter here inside the Layers panel.
But to clear it out, all you need to do
| | 04:44 |
is press the F12 key, or choose the
Revert command from the File menu, and
| | 04:47 |
then play back that action again, and
you'll see that this time I see an amount
| | 04:51 |
value of 300%.
I'll click OK.
| | 04:56 |
Blending Options, however, shows me an
opacity value of 50% because I left that
| | 05:01 |
one recorded as is.
In any case, I'll just go ahead and click
| | 05:05 |
OK to accept it as well.
And that's how you record a dynamic
| | 05:09 |
version of that same sharpening
operation, as well as force the display
| | 05:13 |
of dialog boxes so that you can change
your mind when playing back the action on
| | 05:18 |
the fly.
| | 05:21 |
| | Collapse this transcript |
| Adding steps to an existing action| 00:00 |
In this movie, I'll show you how to
modify an existing action to make it even
| | 00:04 |
more flexible.
So, for example, in our case, we've
| | 00:07 |
created an action that's great if you
start with a flat, photographic image.
| | 00:12 |
But what if the image already contains
layers in the first place?
| | 00:16 |
For example, I have a version of the
image open that contains a smart object
| | 00:19 |
version of the photograph.
And if I double-click on it you'll see
| | 00:24 |
that that opens it up inside of Camera
Raw, which allows me to make whatever
| | 00:27 |
sort of modifications I like.
I'll go ahead and escape out, because I'm
| | 00:32 |
pretty happy with what I have.
And then I've got this other layer on top
| | 00:36 |
called depopulate.
And if I were to scroll over here and
| | 00:40 |
zoom in, you can see what's going on is
that I've taken all the people out of the
| | 00:43 |
scene.
So, if I turn off the depopulate layer,
| | 00:47 |
we've got a smattering of people walking
across the top of the Cliffs of Moor.
| | 00:52 |
And if I turn that depopulate layer back
on, then they disappear.
| | 00:55 |
Our current action is not going to
accommodate this scene, so we need to
| | 00:59 |
switch things out a little bit.
And here's now.
| | 01:02 |
I'm goinna go ahead and twirl close all
of these steps, so that we have a little
| | 01:06 |
more room to work.
And then, because I don't want to replace
| | 01:09 |
this existing action because after all it
works fine for flat, photographic images.
| | 01:14 |
I'll go ahead and grab the action and
drag it and drop it onto the little page
| | 01:18 |
icon at the bottom of the Actions panel.
And then I'll go ahead and rename this
| | 01:23 |
action For office printer because I'm
trying to create a series of corrections
| | 01:27 |
that are ideally suited for the printer
inside my office.
| | 01:32 |
Now, when you're adding steps to an
action, ideally what you want to do is
| | 01:36 |
click on the step, after which the newly
recorded step should occur.
| | 01:41 |
Now, in my case, I want the steps to
occur right at the outset.
| | 01:45 |
But if you click on the action itself,
then the new steps record at the end.
| | 01:48 |
So, I'll just go ahead and put 'em after
Set Background for now, then we can move
| | 01:52 |
'em around later.
Now, I'll click on the circular recording
| | 01:55 |
icon at the bottom of the panel.
And I'm going to start things off by
| | 01:59 |
going up to Image > Duplicate.
That way, I eliminate any chance of
| | 02:03 |
saving over my original file.
And I'll just go ahead and accept the
| | 02:08 |
default name, because otherwise, the new
name could get recorded along with the
| | 02:11 |
action.
Now, you might think that we should
| | 02:14 |
duplicate the merge layers only because,
after all, the other steps are set up to
| | 02:17 |
work with the Flat image file.
But if we do that we won't have a flat
| | 02:22 |
background, we'll have a single layer
instead.
| | 02:25 |
So, we'll address that in a separate
step.
| | 02:27 |
For now, we'll just go ahead and click
OK.
| | 02:29 |
And we end up with a duplicate of the
original file.
| | 02:32 |
Now, I'll go on to Layer > Flatten Image,
which, as you may recall, if you loaded D
| | 02:37 |
keys.
I've given you a keyboard shortcut of
| | 02:41 |
Ctrl+Shift+Alt+A or Cmd+Shift+Option+A on
the Mac.
| | 02:44 |
And the only reason I mention this is
because I'm going to use that keyboard
| | 02:47 |
shortcut.
Even though the command's right here, it
| | 02:50 |
doesn't save me any time or anything but
I want to make a point.
| | 02:52 |
If I press Ctrl+Shift+Alt+A or
Cmd+Shift+Option+A on the Mac, which is a
| | 02:57 |
keyboard shortcut that isn't running on
99% of the versions of Photoshop out
| | 03:02 |
there.
That doesn't matter because, again, the
| | 03:07 |
Actions panel does not record the
shortcut.
| | 03:10 |
It records the operation itself.
So, we see this new item that reads
| | 03:14 |
flatten image.
Now we need to take these two steps and
| | 03:17 |
put them at the beginning of the action.
So, click on the stop button or press the
| | 03:21 |
escape key in order to stop recording.
And then select both these steps by
| | 03:27 |
clicking on 1 and Shift+clicking on the
other.
| | 03:30 |
And then drag them to above set
background.
| | 03:33 |
Now, go ahead and click on the set
background step and let's play the action
| | 03:36 |
from here, but without the dialog boxes
this time.
| | 03:40 |
So, I'll go ahead and turn off the dialog
boxes in front of Smart Sharpen and Set
| | 03:44 |
Filter Effects and then I'll click the
play button in order to play those
| | 03:47 |
remaining steps, so that we're up to
speed.
| | 03:51 |
Now, the next thing I want to do is
correct the image for my office printer.
| | 03:56 |
So, the idea is this, every time I print
photographic images to the printer in
| | 04:00 |
this office, because it's not a super
high-end printer, it's just an HP
| | 04:04 |
laser-jet.
My screen calibration and the printer
| | 04:08 |
calibration aren't really in sync.
Synch with each other.
| | 04:11 |
And I could work like crazy to make sure
they are but it's a pretty futile process
| | 04:14 |
when you're working with a local printer.
So, the better thing to do is to figure
| | 04:18 |
out what's going wrong and then to
compensate in the opposite direction with
| | 04:21 |
an adjustment layer.
So, what ends up happening is the printer
| | 04:26 |
increases the contrast of the image.
So, the shadows fill in, and I end up
| | 04:30 |
losing the highlights.
So, here's what I'm going to do.
| | 04:34 |
I'll make sure For Office Printer is
selected.
| | 04:36 |
Either the action or the last step in the
action, either is going to work, because
| | 04:39 |
I want these next operations to appear at
the end of the list.
| | 04:43 |
Then, I'll click on the Circular Record
icon in order to make it red, so I know
| | 04:47 |
I'm recording.
And I'll press the Alt key or the Option
| | 04:51 |
key on a Mac.
Click the Black Light icon at the bottom
| | 04:54 |
of the layers panel.
And then choose the Curves command and
| | 04:57 |
because I have alter option down that
brings up the new layer dialog box.
| | 05:02 |
I'll go ahead and call this layer
compensation and then I'll click OK in
| | 05:06 |
order to create that new adjustment
layer.
| | 05:10 |
Now, because the printer is exaggerating
the contrast, I need to reduce the
| | 05:15 |
contrast once again in compensation.
So, I'll go ahead and click to create a
| | 05:20 |
point up here at the top and drag it down
a little bit.
| | 05:23 |
And I'm specifically looking for an input
value of 225 and an output value of 215.
| | 05:30 |
And these are values that I figured out
through trial in there.
| | 05:33 |
I'm not saying that they're going to work
with your local printer.
| | 05:36 |
They just happen to work well with mine.
Then, I'll click at another point down
| | 05:40 |
and to the left and I'll drag it up a
little bit.
| | 05:44 |
And I'm looking for an input value of 30
this time around, and an output value of
| | 05:48 |
40.
I noticed that so far the Actions panel
| | 05:51 |
has recorded just one step, Make
adjustment layer.
| | 05:55 |
Call it compensation and use the default
settings, and the default settings are a
| | 05:58 |
straight line.
In other words, no correction whatsoever.
| | 06:02 |
So, how do you make the Actions panel
record your current settings?
| | 06:06 |
Well, you do so by stopping the
recording.
| | 06:08 |
And notice, as soon as I click on the
Stop button, I get this new operation
| | 06:12 |
right here.
And if I twirl it open, it tells me that
| | 06:16 |
I've made these specific modifications,
which is exactly what I want.
| | 06:23 |
All right.
I'll go ahead and hide the Properties
| | 06:27 |
panel just to get it off screen.
And I'll twirl these guys close just to
| | 06:31 |
save myself a little bit of room in the
Actions panel, so it's not taking up all
| | 06:33 |
that much room.
Now in this case, I don't have an image
| | 06:36 |
to revert because, after all, I created a
duplicate of the image.
| | 06:38 |
So, I'm just going to close this one out
because for our purposes its just a dummy
| | 06:42 |
image.
It's just here, so that we could record
| | 06:45 |
the action in the first place.
So, I'll close it and I'll click on the
| | 06:49 |
No button or the Don't Save button on the
Mac.
| | 06:52 |
And then, once I'm back inside the
original version of my file, if necessary
| | 06:55 |
you might want to go to File > Revert,
just to make sure that you're restoring
| | 06:59 |
the original version of the image.
And then, with that new action selected,
| | 07:05 |
go ahead and click on the Play button and
you'll see that Photoshop creates a
| | 07:09 |
duplicate of the image and goes ahead and
plays all the steps, including the Smart
| | 07:12 |
Filter, which we can see here inside the
Layers panel, as well as this
| | 07:16 |
Compensation layer.
So, I want to stress something here.
| | 07:22 |
The whole reason this adjustment layer
exists is not because I like this version
| | 07:26 |
of the image on screen, but rather
because when I print this version of the
| | 07:29 |
image, it's going to look like this.
It's going to look like the image did
| | 07:35 |
before I applied the adjustment layer.
In other words, your results will vary.
| | 07:41 |
But in any event, whether you need that
compensation layer or not, that's how you
| | 07:45 |
go about enhancing an existing action.
By adding additional steps, both at the
| | 07:51 |
beginning of the action and at the end
here inside Photoshop.
| | 07:56 |
| | Collapse this transcript |
| Actioning a consistent image resolution| 00:00 |
In this movie, we'll further modify our
action to take into account a wide
| | 00:04 |
variety of images, and that way we'll be
able to use the action to batch process
| | 00:07 |
an entire folder full of images at a
time.
| | 00:12 |
And part of that is about nailing down
the resolution value, because after all,
| | 00:15 |
the whole notion of sharpening for Output
goes out the window if we don't have a
| | 00:19 |
fixed resolution, because otherwise, we
don't know how big our halos are going to
| | 00:22 |
be.
So I'm going to start things off by
| | 00:27 |
tidying up my screen a little bit.
I'll drag the panels over to the top of
| | 00:30 |
this column of icons here, and then I'll
click on that arrow icon to bring back up
| | 00:34 |
the actions panel.
Next we want to open a sample image.
| | 00:38 |
So go over to the File menu and choose
Browse in Bridge, or you can press
| | 00:42 |
Ctrl-Alt O or Cmd-option O on the Mac.
And if you're working along with me,
| | 00:47 |
navigate the South of France sub-folder.
And you'll find a total of 15
| | 00:51 |
photographs.
Now we need to see more information than
| | 00:54 |
the file name so press control k or
command k on the mac to bring up the
| | 00:57 |
preferences dialogue box and then click
on thumbnails here in the left hand list
| | 01:01 |
and then change this first show option to
dimensions and that will automatically
| | 01:05 |
turn on the show check box and change the
second show option to color profile.
| | 01:12 |
And then click ok and now you'll see that
all of these images are Adobe rgb images
| | 01:17 |
and they're all the same size, that is in
pixels 2360 by 1040 pixels every one of
| | 01:21 |
'em.
But the resolution values are all over
| | 01:26 |
the place, as high as 300 ppi and as low
as 72 ppi.
| | 01:31 |
And that's a problem obviously for
sharpening.
| | 01:33 |
Also notice that some of the images are
flat jpeg files and others are layered
| | 01:38 |
psd's.
You can go ahead and open any one of
| | 01:40 |
these images I'm going to open glanum
ruins dot psd by double clicking on it
| | 01:44 |
and that will take us back into
Photoshop.
| | 01:47 |
Then, go ahead and duplicate the most
recent action, mine's called For Office
| | 01:51 |
Printer, by dragging it and dropping it
onto the little Page icon at the bottom
| | 01:54 |
of the panel.
And I'm doing that because I'm a big
| | 01:58 |
believer that once you have a working
action, you don't want to mess it up, so
| | 02:01 |
you're better off duplicating the actions
as you go.
| | 02:04 |
I'll go ahead and twirl these three guys
at the top closed so that I have a little
| | 02:07 |
more room to work.
And I'll rename this action convert for
| | 02:11 |
prepress because that's where we're
ultimately going with this.
| | 02:15 |
Now I'm going to be introducing a save as
operation into this action so we don't
| | 02:19 |
need this first step duplicate first
document, which would create problems for
| | 02:22 |
batch processing as well.
So go ahead and select that step, and
| | 02:27 |
then Alt-Click or Option-Click on the
Trash Can icon in the lower right corner
| | 02:30 |
of the panel.
Now we're going to introduce a Resolution
| | 02:34 |
step right after Flatten Image.
But we need to go ahead and perform that
| | 02:38 |
step first.
So press the Control key or the Command
| | 02:41 |
key on the Mac and double-click on
flattened image, in order to flatten this
| | 02:45 |
file.
Then click on flat image again, just
| | 02:48 |
click on it to make it active.
And then click on the circular record
| | 02:52 |
button at the bottom of the panel so that
Photoshop is paying attention to your
| | 02:55 |
actions.
Next go onto the image menu and choose
| | 02:58 |
the image size command |
|
|
