IntroductionIntroducing Photoshop forever| 00:00 |
(MUSIC).
| | 00:04 |
Hi, I'm Deke McClelland.
Welcome to the new features in Photoshop.
| | 00:08 |
Updating continuously, and one might even
say relentlessly thanks to the Creative Cloud.
| | 00:15 |
Now since the advent of commercial
software, we've gotten in the habit of
| | 00:18 |
thinking in terms of version numbers.
So where, creative suite is concerned,
| | 00:22 |
there was CS6, and before that CS5, and
so forth, that is a thing of the past.
| | 00:27 |
As a Creative Cloud subscriber, you will
now always have the most current,
| | 00:32 |
version, of Photoshop.
And you will be prompted to update every
| | 00:36 |
time a new version, is available.
So instead of waiting 18 months, or even,
| | 00:41 |
a couple of years between versions of
Photoshop.
| | 00:45 |
You will receive updates at least every
six months is my understanding from Adobe.
| | 00:52 |
Now, this may sound a little
overwhelming.
| | 00:55 |
Who needs new features every six months?
Well, you do of course.
| | 00:59 |
And I'm going to be here to tell you
exactly how those features work.
| | 01:03 |
So, the next time you're prompted to
update Photoshop, go ahead and do so.
| | 01:07 |
And then come back to this course and I
will have new movies for you.
| | 01:10 |
Teaching you how those new features work.
Three things up front here.
| | 01:16 |
First of all, Photoshop supports high
resolution screen displays, such as
| | 01:20 |
retina displays in the Mac.
Or high dpi screens on a PC and I cannot
| | 01:25 |
tell you what a game changer this is.
Photoshop is so beautiful, it's near
| | 01:31 |
print resolution.
221 ppi in the case of my MacBook Pro 15
| | 01:34 |
inch and it's way better than print
because there's no half tone dots.
| | 01:40 |
The colors are better and so forth.
So great.
| | 01:44 |
Second, we've gotten used to thinking in
terms of Photoshop standard, which has
| | 01:47 |
all of the image editing functions, and
then Photoshop Extended, which had 3D.
| | 01:52 |
Again, no more, every version of
photoshop has 3D.
| | 01:56 |
And finally, if you enjoy using bridge as
a file browser and management tool, It
| | 02:01 |
doesn't get installed automatically along
with Photo Shop, you have to install it manually.
| | 02:08 |
However it is available along with the
Creative Cloud.
| | 02:12 |
And when you install Bridge, you also
install Mini-Bridge into Photoshop,
| | 02:15 |
otherwise all the new features are
documented in the following videos.
| | 02:21 |
Please watch and enjoy.
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1. Image Editing UpdatesIntelligent upsampling with Preserve Details| 00:00 |
One of the best new features in Photoshop
is redesigned image size command which
| | 00:04 |
provides two important benefits.
First of all, you can preview the effects
| | 00:09 |
of resampling an image so you can
actually see what you're doing.
| | 00:13 |
And secondly it does a much better job of
upsampling an image, that is adding
| | 00:17 |
pixels to an image.
Just to understand what's going on, I've
| | 00:21 |
got this very basic graphic here which
includes a circle and a couple of
| | 00:24 |
diagonal lines.
Which'll help us understand how Photoshop
| | 00:29 |
adds pixels, because after all pixels are
always upright and square.
| | 00:34 |
Notice here in the Layers panel that this
is a flat image.
| | 00:37 |
Soeverything's pixels.
There are no Vector based shape layers.
| | 00:40 |
I'm going to increase its size.
Right now it's just 400 pixels wide by
| | 00:43 |
300 pixels tall.
By going up to the Image menu and
| | 00:46 |
choosing the Image Size command, you want
to make sure that the Resample check box
| | 00:50 |
is turned on.
And then I'm going to switch from inches
| | 00:54 |
to percent.
And I'm going to increase the width value
| | 00:57 |
to 600%, that's going to change the
height value to 600% as well because the
| | 01:01 |
two are currently linked together.
So the old proportional check box has
| | 01:06 |
gone away and it's been replaced by this
little Link icon.
| | 01:10 |
Incidentally if you're wondering where
Scale Styles went it's now available here
| | 01:14 |
from this little Settings icon.
And notice that it's turned on by default.
| | 01:19 |
I'll go ahead and move the dialogue box
over a little bit and click right at this
| | 01:23 |
location there so that we can see a
preview of the image here inside the
| | 01:26 |
image window.
So if I click inside the dialogue box and
| | 01:30 |
this is a first by the way.
We've never had this preview before.
| | 01:34 |
I see the big versions of the pixels as
they would appear if there was no
| | 01:37 |
interpolation whatsoever if Photoshop
wasn't rewriting the pixels somehow.
| | 01:42 |
And this is the way that they look now.
Previous versions of the software,
| | 01:47 |
Photoshop relied on this guy right here.
I keep it smoother when up-sampling images.
| | 01:53 |
And I want you to bear in mind when I'm
increasing the width to 600 percent and
| | 01:56 |
the height to 600%.
That's 6 by 6, so we now have 36 new
| | 02:00 |
pixels for every one pixel we had
previously inside this image.
| | 02:06 |
So Photoshop is making up a lot of new
information.
| | 02:10 |
Now what it used to do was take the big
jagged transitions and soften them, in
| | 02:14 |
order to create this blurry effect right
here, which was I suppose better than
| | 02:18 |
nothing but not that much better.
I'll go ahead and click OK, so we can see
| | 02:23 |
the way things used to work.
And we'll come back to this image in a moment.
| | 02:27 |
Now I'll switch over to a copy that I've
made in advance of the same image.
| | 02:31 |
Then I'll go up to the Image menu, and
choose Image Size once again.
| | 02:35 |
And I want to leave things 50%, I'll take
the width value up to 600%, once again,
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and click somewhere in the image in the
background so that we can keep track of
| | 02:42 |
these details here.
Now what Photoshop does automatically if
| | 02:47 |
you switch to automatic.
Then anytime you downsample an image,
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that is reduce the number of pixels,
Photoshop relies on this algorithm right
| | 02:55 |
here, Bicubic Sharper just as it did in
the past.
| | 02:59 |
But when you upsample an image, that is
increase the number of pixels, it relies
| | 03:03 |
on this guy, Preserve Details.
So for now I'll just go ahead and select Automatic.
| | 03:08 |
And you can see that we end up with these
much sharper transitions right here.
| | 03:14 |
And just to see what looks like when
we've actually apply the command.
| | 03:17 |
Ill go ahead and click OK.
And now I'll switch back over to this
| | 03:20 |
image which we can barely see at this
point.
| | 03:23 |
We'll see more of it in just a moment.
I'll go up to the Window menu and I'll
| | 03:26 |
choose range, and then I'll choose 2-up
vertical so that way we can keep track of
| | 03:29 |
both of these guys at the same time.
Then I'll click in the right hand image
| | 03:34 |
and I'll shift, space bar, drag in order
to scroll both images at the same time.
| | 03:40 |
Notice the difference between these two
dramatic up-samplings.
| | 03:45 |
Over here on the left hand side we have
very soft details.
| | 03:48 |
We have some stair stepping as well if
you take a close look and we've got some
| | 03:52 |
very droopy corners going on.
Whereas over here on the right hand
| | 03:56 |
image, the better version, thanks to the
Preserve Detail setting, we've got nice
| | 04:01 |
sharp diagonal lines.
And we've got some nice arcs.
| | 04:05 |
There is a little bit of stair stepping
here and there, a little bit of
| | 04:08 |
lumpiness, but it looks awfully darn good
and we have a near perfect corner as well.
| | 04:13 |
So that's what's going on under the hood.
Let's see how this theory shakes out
| | 04:16 |
inside of an actual photographic image.
We'll go up to the Window menu, choose
| | 04:20 |
Range and switch back to Consolidate All
to Tabs.
| | 04:23 |
And now switch over to this photographic
image here, from the Fotolia image
| | 04:27 |
library, about which you can learn more
at fotolia.com/deke.
| | 04:32 |
And I'll go ahead and zoom in to 100% as
well.
| | 04:34 |
So you can see again we've got a low
resolution image to start with.
| | 04:37 |
And now let's say I want to increase the
size by going to the Image menu and
| | 04:40 |
choosing the Image Size command.
And just so you don't think that there's
| | 04:45 |
some special stuff happening at even
percentage increments, I'll change the
| | 04:49 |
width value to let's say, 367%, just
something fairly random.
| | 04:54 |
I want to get the sense of what's going
on with the eye, so I'll go ahead and
| | 04:57 |
drag inside of this preview like so.
But I want to see the eye even more closely.
| | 05:02 |
I'll click on the Plus sign here in order
to increase its size.
| | 05:07 |
We can't really see very much of what's
going on however, because we have such a
| | 05:09 |
tiny preview.
If you want to increase the size of your
| | 05:12 |
preview, just go ahead and increase the
size of the dialog box by dragging down
| | 05:16 |
on the lower right corner like so.
And we end up with this whopping preview
| | 05:21 |
that in my case takes up my entire
screen.
| | 05:25 |
Just so you can see the difference here
between the way it used to be and the way
| | 05:27 |
it is now.
This is what we would have gotten out of
| | 05:31 |
previous versions of Photoshop.
So, pretty soft results as you can see here.
| | 05:36 |
In other words, we're increasing the size
of the image dramatically, adding tons of
| | 05:40 |
pixels but we're not adding definition or
clarity.
| | 05:44 |
Whereas now thanks to automatic, which
automatically grabs preserved details
| | 05:48 |
right there when you upsample, we end up
with these fairly sharp results here.
| | 05:53 |
And this very sharply defined iris.
I'll go ahead and zoom out a little bit
| | 05:58 |
'cuz I also want you to see these details
right here in the chain link fence.
| | 06:02 |
Notice this is what things would look
like if we had no interpolation whatsoever.
| | 06:07 |
So, I'm seeing the big pixels when I
click and hold and as soon as I release,
| | 06:10 |
I can see these very smooth and sharply
defined chain link lines.
| | 06:17 |
Now the final thing I want you to notice
is unavailable by default.
| | 06:20 |
But what I'm going to do is scroll over
to this area here and you can see that
| | 06:23 |
this image is pretty darn noisy, and if I
click and hold you can see this is the
| | 06:27 |
original noise, albeit magnified.
An when I release I want you to notice
| | 06:33 |
how the noise, becomes higher contrast.
Notice that it gets dug in there a little more.
| | 06:39 |
An the reason that's happening is because
this automatic algorithm, that is
| | 06:42 |
preserve details, is increasing the
contrast of the edges in order to create
| | 06:45 |
that sharpness.
But notice, if you go ahead and switch to
| | 06:50 |
Preserve Details, even though nothing
changes here inside the image preview, we
| | 06:54 |
do get this option right here, Reduce
Noise.
| | 06:58 |
And that allows you to reduce the noise,
the luminous noise inside the image as
| | 07:02 |
you increase that value.
And in my case, I'm going to take it to
| | 07:06 |
about 50% because if we take it any
higher than that I end up losing some of
| | 07:09 |
the definition around the eye and I don't
want that to happen.
| | 07:15 |
Now go ahead and click OK in order to
accept that result and a few moments
| | 07:18 |
later Photoshop will deliver the higher
resolution version of the image.
| | 07:23 |
I'm just go ahead and scroll over here to
the young man's face so we can see it on screen.
| | 07:29 |
Press the F key a couple of times in
order to fill the screen.
| | 07:33 |
And that friends, is how you work with
the new and improved image science
| | 07:36 |
command complete with the preserved
details up sampling algorithm here inside Photoshop.
| | 07:43 |
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| The dynamic, editable Liquify filter| 00:00 |
If you're familiar with the Liquefy
filter, you know that it allows you to
| | 00:03 |
paint in distortions, usually cosmetic
distortions.
| | 00:07 |
For example, you can paint in the sides
of someone's face so they appear thinner.
| | 00:12 |
In my case, I want to take myself and my
date here and make us look like more
| | 00:15 |
credible zombies, as you see in this
final version of the composition as
| | 00:19 |
opposed to total posers.
Now the great thing about the creative
| | 00:25 |
cloud version of Liquefy, is that you can
apply it as an editable smart filter, so
| | 00:28 |
that you can change your settings any
time you like.
| | 00:32 |
Plus we have a new tool that allows you
to smooth out rough transitions inside of
| | 00:35 |
a mesh.
And let me show you how both of those work.
| | 00:39 |
I'm going to start by selecting the
background image.
| | 00:41 |
Then I'll press Ctrl+Alt+J, or
Cmd+Option+J on a Mac, to jump it to a
| | 00:44 |
new layer.
And I'll call this layer Adam 13.
| | 00:48 |
Because that was the name of the event I
was at, and then I'll click OK.
| | 00:53 |
Now we want to convert this image to a
smart object by right clicking inside the
| | 00:56 |
image window with the rectangular marque
tool and choosing Convert to Smart Object.
| | 01:02 |
Next, if you're working along with me.
Go up to the Filter menu and choose Liquefy.
| | 01:06 |
Now, before Creative Cloud, this command
would have been dimmed because you could
| | 01:09 |
only apply it as a static effect to a
Pixel Based layer.
| | 01:13 |
But now we can apply it editably.
So, just go ahead and choose the command
| | 01:17 |
to bring up the big Liquefy window.
Now I'll go ahead and zoom in a little
| | 01:20 |
bit here.
I could start things off by pressing the
| | 01:23 |
right bracket key a few times in order to
increase the size of my brush.
| | 01:27 |
And with the Warp tool in the upper left
corner selected, I could drag down on the
| | 01:31 |
left side of my mouth in order to give
myself more of a slack expression.
| | 01:36 |
But I've gone ahead and saved some
settings in advance, which you can load
| | 01:39 |
by first turning on the Advanced Mode
checkbox and then, click on the Load Mesh button.
| | 01:46 |
And if you have access to the Exercise
Files folder, inside you'll find this
| | 01:50 |
file called Zombie expressions.msh.
And you can go ahead and click the Open
| | 01:55 |
button to load it up.
And that's all there is to it.
| | 01:58 |
Now, if you don't like something that you
see on screen, you can just go ahead and
| | 02:01 |
brush things in differently.
What I'm going to do is click OK in order
| | 02:05 |
to apply that effect, and now if you
scroll down to the bottom of the Layers
| | 02:08 |
panel you can see that Liquefy is applied
as a smart filter.
| | 02:13 |
Which means of course, that you can
modify it any time you like.
| | 02:18 |
And, you can go back and see what you've
done later on.
| | 02:20 |
Which is a terrific advantage when you're
editing old compositions.
| | 02:24 |
I'll go ahead and double-click on the
word Liquefy there in the Layers panel to
| | 02:27 |
revisit my settings here.
And you can see that these are live
| | 02:31 |
dynamic settings.
If you turn on the Show Mesh checkbox,
| | 02:34 |
and then you might want to go ahead and
zoom in in order to see the mesh with
| | 02:37 |
more clarity.
And the mesh represents the actual paths
| | 02:41 |
of the distortion, both horizontal and
vertical.
| | 02:45 |
I'm going to click inside one of these
numerical values, so the checkbox is no
| | 02:48 |
longer active here under Windows.
And I'll go ahead and scroll over, and
| | 02:52 |
zoom in just a little more.
And notice that we do have some harsh
| | 02:56 |
transitions inside Colleen's mouth.
You can smooth those transitions away
| | 03:00 |
when the Advanced Mode checkbox is turned
on.
| | 03:04 |
By selecting this Smooth tool, three
tools down over here on the left-hand side.
| | 03:08 |
Again, it's only available when the
Advanced Mode checkbox is selected.
| | 03:13 |
And then, all you need to do is go ahead
and reduce the Brush Rate value to 50,
| | 03:16 |
because that'll serve us a little better.
And then you can just click, like so
| | 03:21 |
inside of Colleen's mouth.
Just to smooth things out a little bit I
| | 03:25 |
might reduce the size of my brush and
click again here and right there as well.
| | 03:30 |
Things are a little bit overly droopy
over here on the left side of my mouth.
| | 03:34 |
So I'll go ahead and click a couple of
times here in order to open things up.
| | 03:40 |
That should, give us less in the way of
stretched pixels, if you know what I mean.
| | 03:44 |
These regions where the details really do
appear to be stretched longer than they
| | 03:48 |
ought to be.
In any case, once you get done applying
| | 03:52 |
your changes, just go ahead and click the
OK button, in order to exit the dialogue box.
| | 03:58 |
And your original image, by the way, is
totally maintained.
| | 04:00 |
So if you were to the turn off the
eyeball in front of Liquefy, you'll see
| | 04:03 |
the original on screen.
Then I'll turn it back on so we can see
| | 04:06 |
the effect.
So that's all there is to the new feature.
| | 04:10 |
There are a few more modifications I want
to apply here.
| | 04:13 |
I've got this Shadows layer, I'll go
ahead and turn it on.
| | 04:15 |
And you can see it's a series of black
brush strokes.
| | 04:18 |
It looks pretty terrible right off the
bat, but if I were to select that layer
| | 04:21 |
and change its mode from normal to
overlay, you can see we end up getting
| | 04:25 |
more of a Burn tool effect, so the blend
mode is no longer active.
| | 04:30 |
And then I'll press the two key to reduce
the opacity value to 20%.
| | 04:35 |
And now we get some pretty realistic
looking shadows.
| | 04:38 |
So this is the image without that layer
and this is the image with the layer.
| | 04:42 |
I also added an Adjustment layer, which
is called Darken.
| | 04:45 |
If you double-click on its Thumbnail
it'll bring up the Properties panel,
| | 04:48 |
which will show you the curve that I
applied.
| | 04:52 |
And then finally I've got this Eyes
layer, I'll go ahead and turn it on, and
| | 04:55 |
all it is is a copy of my eyes, you can't
see Colleen's, because hers are closed.
| | 05:01 |
And if I were to Ctrl click, or Cmd click
on the Thumbnail for that Eyes layer, you
| | 05:04 |
can see, that's all there is to it, just
my irises and my pupils.
| | 05:09 |
Go ahead and press Ctrl+D, or Cmd+D on
the Mac in order to deselect the image.
| | 05:13 |
I'll switch to the Eyes Layer by clicking
on it, and then I'll change its blend
| | 05:16 |
mode from normal to screen to produce
this effect right here, a little more haunting.
| | 05:22 |
And then finally, I added a dark outer
glow, which you can see by turning on the
| | 05:26 |
effects better associated with that
layer.
| | 05:29 |
Just to give you a sense of what we were
able to accomplish in just a few minutes.
| | 05:34 |
I'll go ahead and Alt click or Option
click on the eye, in front of the
| | 05:37 |
background image, and you can see, this
is the original version of the
| | 05:40 |
photograph, and then this is the final
version.
| | 05:45 |
Thanks to my ability to apply Liquefy, is
a dynamic smart filter here inside Photoshop.
| | 05:52 |
| | Collapse this transcript |
| The altogether rewritten Smart Sharpen filter| 00:00 |
The new version of Photoshop includes new
a Smart Sharpen Filter.
| | 00:04 |
It's all new.
Still has the same name.
| | 00:06 |
But it's been rewritten from the ground
up.
| | 00:09 |
And the idea is that it reduces the
obvious halos that are associated with
| | 00:13 |
sharpening effects.
They're still there but they're not
| | 00:17 |
nearly as visible as before.
And you have a Noise Reduction Control as well.
| | 00:21 |
So here's how it works.
I'm going to start things off by turning
| | 00:24 |
on this Blur layer.
Which helps to soften some of the
| | 00:27 |
highlights inside the image.
And now I want to sharpen everything
| | 00:31 |
that's visible.
Now I could do that by selecting all
| | 00:34 |
these layers from blur down, and
combining them into a single Smart Object.
| | 00:39 |
But that could end up being pretty
cumbersome.
| | 00:41 |
So instead, I'm going to merge all the
visible layers together.
| | 00:44 |
Using the keystroke Ctrl+Shift+Alt+e, or
Cmd+Shift+Option+e on the Mac.
| | 00:49 |
And the keystroke is the only way to get
that function.
| | 00:52 |
And you'll see that you create a new
layer that's a combination of all the
| | 00:55 |
layers below.
I'll go ahead and double-click on it's
| | 00:58 |
name and change it's name to merged.
And then, I'll right click inside the
| | 01:02 |
Image Window, using my Rectangular
Marquee tool and I'll choose Convert To
| | 01:05 |
Smart Object.
In order to place that image inside a
| | 01:09 |
smart object, so that we can apply smart
sharpen, as a smart filter.
| | 01:14 |
Now I'll go up to the Filter
Menu>Sharpen> Smart Sharpen, an you'll
| | 01:17 |
see that the dialogue box looks quite
different than it did before, but it
| | 01:22 |
sports by default a smaller, preview.
Which may seem a little weird.
| | 01:27 |
I'll go ahead an click inside the image,
to center that region inside the preview.
| | 01:32 |
Reason it might seem odd is because just
about everybody on the planet has been
| | 01:36 |
requested a larger preview inside this
dialog box.
| | 01:40 |
Turns out the Dialog Box is scalable,
just as in the case of the Image Size
| | 01:44 |
Dialog Box.
And when you scale it up, the preview
| | 01:47 |
goes and and grows along with.
I'll go ahead and scoot that guy over.
| | 01:53 |
Now, you're also previewing inside the
Background Image Window, so bear that in mind.
| | 01:58 |
Now, first thing I'm going to do, so that
we have a point of comparison here, is
| | 02:00 |
I'm going to click on this little gear
icon.
| | 02:04 |
And turn on the use Legacy check box.
And notice as soon as you do that, you
| | 02:08 |
have access to that more accurate check
box that used to be part of this filter
| | 02:11 |
as well.
And what that's going to do is make the
| | 02:14 |
filter behave the way it did in the past.
Now, I'm going to go ahead and crank the
| | 02:18 |
amount value up to an absurdly high
level.
| | 02:21 |
To the maximum in fact of 500%.
And I'm going to go ahead and take the
| | 02:25 |
radius value up to five pixels, as well.
And I'll leave Remove set to Lens Blurr.
| | 02:30 |
And we get this awfully over-the-top
affect, as you can see here.
| | 02:35 |
Now you wouldn't really go this high, I'm
just doing this for the sake of comparison.
| | 02:38 |
But I do want you to see the big halos
that we have inside the image, and that's
| | 02:42 |
a function of this radius value, and when
I say halos, I mean this white edge right
| | 02:46 |
there with the very dark black edge on
the other side.
| | 02:51 |
And you can find examples of those halos
all over the place, along Colleen's nose
| | 02:54 |
right here for.
For example.
| | 02:56 |
Also notice we that have all this weird
coloring going on inside my eyes.
| | 03:01 |
Well you can solve that problem, this is
the way we've always done it.
| | 03:04 |
Click on the OK button to go ahead and
apply the filter.
| | 03:07 |
I'll go ahead and zoom in a little, so we
can see.
| | 03:09 |
Those big halos and those horrible colors
inside of the image window here.
| | 03:14 |
And then I'll go ahead and double click
on the little slider icon to the right of
| | 03:17 |
the words Smart Sharpen to bring up the
Options Dialog Box.
| | 03:22 |
And then go ahead and click presumably
inside the image to set the preview
| | 03:25 |
inside this dialog box.
This one is not scalable, incidentally.
| | 03:30 |
And then I change the mode from normal to
luminosity.
| | 03:33 |
And I want you to keep an eye on this
region right here inside the image.
| | 03:37 |
So I choose luminosity and you'll notice
that those colors settle down.
| | 03:41 |
So we still have some dark violets going
on, but we don't have all those random
| | 03:45 |
color fluctuations.
Now click OK to accept that effect.
| | 03:50 |
But this is not the Smart Sharpen we're
looking for, this is the old style.
| | 03:53 |
Let's take a look at the new variation
now.
| | 03:55 |
But double clicking on Smart Sharpen once
again to bring up the Smart Sharpen
| | 04:00 |
dialogue box, we should be able to see
the effect here inside the dialogue box.
| | 04:06 |
If you don't, you might just want to go
ahead and drag inside the preview.
| | 04:10 |
And now I'll go up to this gear icon, and
turn off use legacy, and as soon as I do,
| | 04:13 |
I want you to keep an eye on what
happens.
| | 04:17 |
Notice how those halos inside the image
settle down.
| | 04:20 |
So we don't have nearly the obvious halos
we did before.
| | 04:24 |
Either around my jaw line or Colleen's
nose, or anywhere, even though, we have
| | 04:28 |
this huge radius value combined.
With this over the top amount value.
| | 04:34 |
The reduced noise slider also becomes
available, as soon as I turn that option off.
| | 04:39 |
And you can see there's all kinds of
noise inside the image as well as, some
| | 04:43 |
pretty ichy looking pours on my face.
And if I take that reduced noise value
| | 04:48 |
all the way to the maximum of 100%, and
by the way you may need to wait to see
| | 04:51 |
the results on screen.
Notice that that goes ahead and smooths
| | 04:55 |
things away quite nicely.
We don't want that high of a reduced
| | 04:59 |
noise value.
In fact, you just want to crank this
| | 05:01 |
value up until you pretty much maintain
the amount of noise that was at work in
| | 05:05 |
the original image, before it was
sharpened.
| | 05:08 |
So I'm going to take it to 25%.
Now, notice that the preset has changed
| | 05:15 |
from what it started out with which was
default to custom.
| | 05:19 |
And I don't know how many of you remember
this but back before the newest version
| | 05:23 |
of Photoshop, you would overwrite the
default settings every time you clicked OK.
| | 05:27 |
Now, Smart Sharpen is smart enough to
avoid this and so, if you choose Default
| | 05:31 |
to go back to the original default
settings and if you want to save your
| | 05:34 |
current settings, then you can just
choose Save Preset.
| | 05:39 |
And, go ahead and name your settings
anything you want.
| | 05:42 |
I'll just call mine over the top and then
click the Save button.
| | 05:46 |
And, sure enough, I now have a preset
called over the top and I can switch back
| | 05:49 |
and forth between it and the default
settings anytime I like.
| | 05:54 |
I want to bring back over the top because
these are the settings I want to apply.
| | 05:58 |
One of the problems I have with this
effect right now, and you'll see it ends
| | 06:01 |
up working out pretty nicely when we're
done, but right now, my highlights are
| | 06:05 |
too obvious.
The highlights that are associated with
| | 06:09 |
the halos here.
And so are the shadows.
| | 06:11 |
And that's the purpose of this area right
here.
| | 06:15 |
So if you click on the triangle to expand
these options.
| | 06:18 |
These are the old advanced settings and
they work just the same as they did
| | 06:20 |
before, just that they're not associated
with a different tab.
| | 06:24 |
I'm going to go ahead and take my total
width value for highlights up to 77%.
| | 06:28 |
That doesn't do anything until I crank
the fade amount value from zero all the
| | 06:31 |
way to 100.
And you may see the highlights inside my
| | 06:35 |
eyes, for example, dim down just a little
bit.
| | 06:38 |
And then, I'm going to increase the fade
value associated with my shadows.
| | 06:43 |
Up to just 25%, and that makes a pretty
big difference.
| | 06:47 |
And then I'll go ahead and click okay, in
order to accept those changes.
| | 06:52 |
Now I want to calm things down, just a
little bit.
| | 06:54 |
So I'll double click on the slider icon,
once again, to bring up the blending
| | 06:57 |
options dialogue box.
And then I'm going to take the opacity
| | 07:01 |
value down to 66%,, and then I'll click
OK in order to accept that change.
| | 07:06 |
Now notice I have a texture here on top
of the stack.
| | 07:09 |
I'll go ahead and turn it on.
And I'll click on that Texture Layer to
| | 07:12 |
select it.
And I'll change the blend mode from
| | 07:15 |
normal to, multiply, in order to multiply
in those cracks.
| | 07:19 |
I don't really want the cracks covering
up Pauline's eyes to this extent.
| | 07:23 |
So that's why I assigned this layer mask
right here.
| | 07:26 |
And you can turn it on just by shift
clicking on it here inside the layers panel.
| | 07:30 |
And then finally, I'll double-click on
the layer thumbnail to bring up the layer
| | 07:34 |
style dialogue box and I'll Alt drag or
Option drag the left side of this white
| | 07:37 |
triangle, the one that's associated with
the underlying layer slider.
| | 07:44 |
Until I see this value before the slash
of 128 so that we have a fade going on
| | 07:47 |
right there and then I'll click OK to
accept that change.
| | 07:52 |
And now you can see that the sharpened
layer is really lending to the image.
| | 07:56 |
This is what the composition looks like
without the sharpening.
| | 07:58 |
So even though I set it to 500%, it
actually turns out to be a pretty subtle effect.
| | 08:04 |
An this is what it looks like now.
An you're going to be able to gauge it
| | 08:08 |
better on, most screens, that's your
typical, normal definition screen, by
| | 08:12 |
zooming out to something like 50%.
An that friends, is how you take
| | 08:18 |
advantage of the completely altogether
rewritten smart sharpen filter, inside Photoshop.
| | 08:24 |
| | Collapse this transcript |
| The dynamic, editable Blur Gallery| 00:00 |
Another great addition, courtesy of the
Creative Cloud, is our ability to apply
| | 00:05 |
the Blur Gallery as a dynamic editable
smart filter.
| | 00:09 |
Which really increases the effectiveness
of the blur gallery, because it means you
| | 00:12 |
can take a step back, gauge your results.
And then modify the settings to taste.
| | 00:17 |
What we're going to do in this video is
take our composition so far and create a
| | 00:21 |
depth of field effect.
So that the background and this recessed
| | 00:26 |
area here are out of focus.
So I'll go ahead and switch back to the
| | 00:29 |
image in progress.
Make sure the Merge layer is selected,
| | 00:32 |
it's a smart object, so we can apply a
smart filter to it.
| | 00:36 |
By going up to the filter menu, choosing
Blur, and then, we're going to work with
| | 00:39 |
the first of the 3 blur gallery effects,
which is the Field blur.
| | 00:44 |
And now what we want to do is add a few
pins.
| | 00:46 |
And now just by default, we just get one
pin, right here in the center.
| | 00:49 |
I'm going to drag it off to the side
here, to the background, and I'm going to
| | 00:52 |
increase the blur value by dragging
inside the screen, up to, 30 pixels like so.
| | 00:59 |
Now we want all the facial features to be
in focus.
| | 01:02 |
So I'll set a pin right here on my left
temple, really my right, and I'll go
| | 01:05 |
ahead an drag, it down to a blur value of
zero.
| | 01:09 |
An then I'll do the same for the gore up
here, we definitely want it to be in focus.
| | 01:14 |
And I paid a lot for this jacket, it's an
Armani.
| | 01:16 |
So let's go ahead an set it to a blur
value of zero as well right there on the
| | 01:19 |
shoulder and I'm also going to add some
more blur on the background.
| | 01:24 |
So I'll go ahead and click right there to
set a pin and I'll take it up to blur
| | 01:28 |
value of 30.
And by the way, if you're having problems
| | 01:31 |
getting the values exactly right you can
just go ahead.
| | 01:34 |
And click over here in the upper right
corner of the window and dial in a
| | 01:37 |
specific numerical value.
Now I'm going to set a pin in the upper
| | 01:41 |
right corner, and I'm going to take its
blur value here up to 50 like so.
| | 01:46 |
And I'll set a pin right about there take
it up to 30 so you can work any way you like.
| | 01:52 |
And I'm going to set another pin right
there, and I'm going to leave it set to
| | 01:55 |
it's default value which is 15.
Now, Colleen is become horribly out of
| | 01:59 |
focus, we don't want that.
So, I'll set a pin right here at the top
| | 02:03 |
of her ear.
And I'll go ahead and take the blur value
| | 02:06 |
down to 0 make sure you don't go to far
or you'll end up with an extreme blur.
| | 02:12 |
Go ahead and set another pin, that should
be zero down right here.
| | 02:16 |
And Colleen's got great hair, so we might
as well put it in focus as well.
| | 02:21 |
I'll set a pin right about there, and
take it down to a blur value of zero.
| | 02:26 |
And set a pin at this location in her
hair, and take it down to a blur value of
| | 02:30 |
zero as well.
This looks pretty darn good, I do want to
| | 02:35 |
add a little bit of a bokeh.
So I'll drop down to the blur effects tab
| | 02:38 |
right there.
If you can't see these values, then just
| | 02:41 |
go a head and double-click, on the tab,
in order to bring em up.
| | 02:46 |
You can see if you increase the Light
Bokeh value that you're bringing out
| | 02:49 |
these spectral highlights up here in the
upper right corner of the image where the
| | 02:52 |
actual lights in the scene exist.
I don't want that much of a bokeh, so
| | 02:57 |
I'll take the value down to 45%.
You can also add some color here, to
| | 03:01 |
those highlights.
I'm going to take this value down though.
| | 03:05 |
I don't want too much color, just a
little bit, down to 25%.
| | 03:08 |
And then you can control the range that's
affected by the bouquet by modifying
| | 03:12 |
these black and white points here.
And notice if I take this black point all
| | 03:16 |
the way down to zero, that's a luminance
level of zero, meaning black.
| | 03:20 |
Then I'm bringing out some highlights,
over in the left hand corner of the image.
| | 03:24 |
I don't really want that, so I'll take
that Black point value up to 120, tab
| | 03:27 |
over to the White point value, and take
it down to 230.
| | 03:31 |
Everything's looking great.
So I'll go ahead an click the OK button,
| | 03:35 |
in order to accept that effect.
And a moment later it will apply, inside
| | 03:39 |
of the image window.
Now of course the next thing you would do
| | 03:42 |
is inspect the image, to make sure that
it looks the way that you want it to look.
| | 03:46 |
An when I zoom in here on Colleen's face
in particular, it appears to me that her
| | 03:50 |
nose and her mouth are a little bit out
of focus, which is not what I want.
| | 03:57 |
Now if I had applied the Blur Gallery as
a static effect, then I would have to
| | 04:00 |
Undo, and then press Control+Alt+F or
Cmd+Option+F to revisit my last filter settings.
| | 04:05 |
Which is pretty precarious, because if
you applied some other filter in the
| | 04:08 |
meantime, then you've lost those
settings.
| | 04:12 |
Whereas, because I had applied Blur
Gallery as a smart filter, I can change
| | 04:15 |
my settings any time I like.
I'll just go ahead and zoom back out here.
| | 04:21 |
And I'll double-click on the words Blur
Gallery.
| | 04:22 |
In order to revisit my pins inside the
large Blur Gallery window.
| | 04:28 |
Now, the best way to test whether we've
got some blur leaking into the image, is
| | 04:32 |
to press and hold the M key.
But in order for this trick to work, you
| | 04:37 |
have to make sure none of the numerical
values are highlighted.
| | 04:40 |
In my case, one is, so I need to press
the Esc key first.
| | 04:43 |
And then you press and hold the M key for
Mask.
| | 04:47 |
In order to see a mask view of the blur
effect.
| | 04:51 |
So basically what's happening is the
biggest value 50 is showing up as white.
| | 04:56 |
And then any place where I assigned a pin
for zero is showing up as black because
| | 05:00 |
the blur is not permitted in that region.
So in other words, any light areas, like
| | 05:06 |
this area down here, are permitting some
blur to leak in and we don't want that.
| | 05:13 |
By the way the texture layer is also
showing up on top, you can safely ignore that.
| | 05:17 |
That doesn't have anything to do with the
mask.
| | 05:19 |
So I'll go ahead and release the M key in
order to switch back to the full color
| | 05:23 |
version of the image.
And I'm going to add a pin right there on
| | 05:26 |
Colleen's teeth and I'm going to take
that guy down to zero, so all these
| | 05:30 |
facial features and the gore, in
particular.
| | 05:33 |
want to be in sharp focus, and in
particular, the eyes, of course, by the
| | 05:37 |
way, should be in focus.
So I'll just go ahead and set a pin right
| | 05:41 |
on her eye, there.
Might as well set one right on mine.
| | 05:43 |
And then I'm going to set one on my
teeth, and take the blur value down to zero.
| | 05:49 |
And then finally, I'm going to add some
blur right there at this location,
| | 05:52 |
because there is some depth in this
region.
| | 05:56 |
And, you might want to go subtle, like
with five or something like that.
| | 05:59 |
But, I decided, I didn't want subtlety.
So I'm going to leave it set to its
| | 06:03 |
default, which is a blur of 15 pixels.
And we end up with this final version of
| | 06:09 |
the effect.
Now go ahead and click OK, in order to
| | 06:13 |
apply it my overarching image.
Now at this point, the blur is starting
| | 06:18 |
to reduce some of the focus that's
implied by the Smart Sharpen filter.
| | 06:24 |
So I'm going to go ahead and double-click
on the slider to the right of Smart Sharpen.
| | 06:29 |
You'll probably get an alert message
that's telling you that you're not
| | 06:32 |
going to see the blurred gallery while
you're modifying your Smart Sharpen settings.
| | 06:37 |
Go ahead and click OK.
An a moment or two later, you should see
| | 06:40 |
the Blending options dialog box come up
onscreen.
| | 06:43 |
I'll go ahead an click on my eye so I'm
not staring at my nostril there.
| | 06:47 |
I'll set the Opacity value to 100%, an
leave the mode set to Luminosity.
| | 06:52 |
That's very important.
An then click OK in order to apply that modification.
| | 06:57 |
And a moment or two later, you will see
the Blur Gallery effect reappear.
| | 07:02 |
On top of this merged layer.
And now I'll press the F key a couple of
| | 07:06 |
times in order to fill the screen with my
image.
| | 07:09 |
And I'll go ahead and Zoom In as well.
And that is the final version of this
| | 07:13 |
particular composition.
Thanks to a variety of smart filters,
| | 07:17 |
including Liquify, the redesigned Smart
Sharpen and the now Dynamic Blur Gallery.
| | 07:24 |
| | Collapse this transcript |
| Correcting camera shake with Shake Reduction| 00:00 |
In this movie, I'll introduce you to
Photoshop's newest experimental feature
| | 00:04 |
which goes by the name Shake Reduction.
And it's job is to correct for camera
| | 00:09 |
shake in a scene, by which I mean you've
got a handheld camera, low light, and the
| | 00:13 |
movement in the scene is caused by you
the photographer.
| | 00:19 |
Not by the subjects of your photograph
moving.
| | 00:21 |
And Shake Reduction relies on a high
degree of artificial intelligence.
| | 00:25 |
It's a pretty amazing feature.
Sometimes it gets it right.
| | 00:29 |
Sometimes it doesn't.
And often times it varies inside the
| | 00:31 |
confines of a single photograph.
So I'll go ahead and press Ctrl+1, or
| | 00:36 |
Cmd+1 on a Mac, to zoom in to this image
that I shot in low evening light.
| | 00:41 |
You can see that we've got a ton of
camera shake going on.
| | 00:45 |
Now you can apply Shake Reduction as a
smart filter.
| | 00:49 |
I'll go ahead and double-click on the
background here and I'll call this new
| | 00:52 |
layer camera shake, and then I'll click
OK.
| | 00:55 |
Now I'll right-click inside the image
window with the rectangular marquee tool
| | 00:59 |
and choose Convert to Smart Object so
that we can apply a smart filter.
| | 01:03 |
Next, I'll go up to the Filter menu,
choose Sharpen, and choose the very first
| | 01:07 |
command here.
Shake Reduction, which brings up this
| | 01:11 |
whopping big dialog box.
And notice that right away, the filter
| | 01:15 |
goes ahead a takes a stab at
automatically correcting the image.
| | 01:20 |
And it does so differently for every
single image that you'll open.
| | 01:24 |
And if you want to see the difference you
can just turn on and off this preview checkbox.
| | 01:29 |
So, this is the before version of the
image with the shake and this is the
| | 01:32 |
after version.
You can zoom in on your image if you like
| | 01:36 |
by pressing Ctrl+Plus or Cmd+Plus on a
Mac.
| | 01:40 |
And you also have this loop over here in
the right hand side of the dialog box.
| | 01:46 |
To reposition the preview inside the
loop, you can drag it like so or you can
| | 01:50 |
just click at a different area inside of
the larger preview.
| | 01:56 |
And then, if you want to use that region
in order to apply a correction
| | 01:59 |
automatically, then you click on this
little button.
| | 02:03 |
Enhance at loop location, and you'll end
up getting an enhancement designed
| | 02:07 |
specifically for this portion of the
image.
| | 02:11 |
Now, it may not suit all of the image and
in fact in our case it really doesn't.
| | 02:15 |
The reason being, even though this is a
very obvious area of camera shake.
| | 02:19 |
Because it's an open sign with some
lights around it, so these big B&Q
| | 02:23 |
(INAUDIBLE) of lights are actually tiny
blurred lights.
| | 02:27 |
Problem is, that this filter doesn't work
very well with blown highlights.
| | 02:32 |
So when you have specular highlights like
these, things aren't going to work out so well.
| | 02:36 |
So instead what I'm going to do is click
at this location where there's a person
| | 02:40 |
behind the window there.
And I'll go ahead and click on that
| | 02:44 |
Enhance button in order to enhance this
location instead.
| | 02:48 |
Now notice that you have some numerical
options here.
| | 02:51 |
This blur trace bounds that defines the
size of the blur, and camera shake sets
| | 02:55 |
that up automatically for the image
unless you think you know better.
| | 03:00 |
You're generally better off leaving that
option alone, and then you can apply some
| | 03:04 |
smoothing as well.
If you want to smooth some of the details
| | 03:07 |
inside of the image, to compensate for
any noise or artifacting that's
| | 03:11 |
introduced by the sharpening.
Notice we don't have an amount value.
| | 03:16 |
So really smoothing is as close as you
come.
| | 03:18 |
Then you've got artifact suppression
which will get rid of large weirdnesses
| | 03:23 |
in the scene.
Unlike with most filters, you're going to
| | 03:27 |
get a lot more work done by ignoring the
numerical options and adding some
| | 03:30 |
automatic enhancements.
And you do that as follows.
| | 03:34 |
The first the you want to do is
double-click somewhere inside the larger
| | 03:37 |
preview in order to undock the loop and
move it into the image preview.
| | 03:42 |
And then you can drag that loop around
and notice that as you're dragging it,
| | 03:46 |
you're seeing the original version of the
image and as soon as you release, you're
| | 03:50 |
seeing the compensation.
Notice also you've got this little
| | 03:55 |
advanced area right there.
Go ahead and twirl that open cause it's
| | 03:58 |
very, very useful.
You'll see the area that's being used in
| | 04:02 |
order to enhance the image.
And right now it's just this little
| | 04:06 |
square area.
The area that I clicked on and then enhanced.
| | 04:10 |
And you can even see the shape on the
blur.
| | 04:12 |
And if you want to see it better you
click on this little icon here in the
| | 04:14 |
lower right corner and then you'll see a
larger version.
| | 04:18 |
So we're seeing the shape of the blur
represented in white against a black background.
| | 04:24 |
Now, if you want to add more areas of
interest to your image, then one thing
| | 04:27 |
you can do is just click on this little
icon, add suggested blur trace.
| | 04:31 |
And then the camera shape filter will go
ahead and automatically add an area like so.
| | 04:36 |
You can also modify the size of that area
if you want to just by dragging on one of
| | 04:40 |
these handles.
If you want tot change the location of
| | 04:44 |
this region, then you drag on this little
center point.
| | 04:49 |
Now you can see another blur preview down
here in the advance region and that
| | 04:52 |
represents the selected rectangular
region.
| | 04:55 |
And if you want to get a sense of what's
going on there you can click on the
| | 04:58 |
little bottom right icon to zoom right
in.
| | 05:02 |
So each one of these represents a
different region.
| | 05:04 |
Notice when I click on this one it's
selected, and that selects this square region.
| | 05:09 |
If I want to add yet another one, I would
just click on this little Plus icon.
| | 05:15 |
You never know where these new areas are
going to crop up, because Shake Reduction
| | 05:17 |
is just making this stuff up on the fly.
Or, if you have an area that you think
| | 05:22 |
might be interesting.
Then you can just go ahead an drag around
| | 05:26 |
it, like so.
Using this rectangle tool right there,
| | 05:29 |
which is selected by default.
An now notice that, that did actually a
| | 05:33 |
pretty darn good job.
If I move the loop, over that a, at the
| | 05:37 |
end of the word pasta, notice how very
blurry it is, but as soon as I release I
| | 05:41 |
can see that Photoshop has done a really
great job Of redrawing the A.
| | 05:48 |
So sometimes it does a great job as we're
seeing right there, and other times, it's
| | 05:52 |
an interesting job anyway.
And what you may find this useful for by
| | 05:57 |
the way, in addition to trying to correct
an image which may not be this filter's
| | 06:01 |
strong suit, you may find that it's
useful for figuring out what in the world
| | 06:04 |
the words in an image are.
For example, this telephone number down
| | 06:10 |
here is very difficult to read.
But as soon as I release, it becomes a
| | 06:14 |
little more clear exactly what those
numbers are.
| | 06:19 |
One more way to use this filter, by the
way, I'm going to go ahead and zoom in on
| | 06:23 |
the word restorante up here at the top.
I'll press Ctrl+1, Cmd+1 on the Mac, to
| | 06:29 |
zoom in to 100%.
You also have this tool right there.
| | 06:33 |
This little blur direction tool, It's
only available by the way, when advanced
| | 06:37 |
is twirled opened.
Because if it's closed, then that tool
| | 06:40 |
will appear dimmed.
So I'll go ahead and twirl, advanced back open.
| | 06:44 |
You really want to work with advanced all
the time, by the way.
| | 06:48 |
And then go ahead and select that tool.
And what you can do, notice that
| | 06:51 |
automatically turns off the preview
checkbox so that you can draw along an
| | 06:55 |
edge that you know is total blur, like
this edge of the E right there.
| | 07:01 |
And that will set a blur trace length and
also set a trace direction.
| | 07:05 |
Now, if you want to change that on the
fly.
| | 07:07 |
Go and zoom in here a little bit.
Then you can press your bracket keys.
| | 07:12 |
The right bracket key makes this guy
longer and this is the square bracket key
| | 07:15 |
by the way.
The left square bracket key makes this
| | 07:18 |
guy shorter and then if you want to
change the angle, you press the control
| | 07:21 |
key or the command key on the Mac.
And press one of those square bracket keys.
| | 07:27 |
That's Ctrl+Right Bracket, Cmd+Right
Bracket on the Mac and this is Ctrl+Left
| | 07:31 |
Bracket or Cmd+Left Bracket on the Mac.
And then to see what in the world's
| | 07:37 |
happening, you need to turn the preview
checkbox back on and we'll end up seeing
| | 07:40 |
this effect here.
Not my favorite effect where this image
| | 07:45 |
is concerned.
So, if you don't like something you've
| | 07:47 |
come up.
Of course, you can delete it.
| | 07:49 |
Or you can just turn it off.
This is our blur line right there.
| | 07:53 |
I'm just going to turn that guy off.
The one that I drew manually.
| | 07:56 |
And you can see we end up with a better
effect without that manual modification.
| | 08:01 |
Go ahead and press Ctrl+0 or Cmd+0 on the
Mac to zoom out from preview.
| | 08:05 |
And if you want to dismiss this little
loop, you can click on the Close box
| | 08:09 |
there, or you can just press the Q key to
quit it.
| | 08:13 |
And that'll go ahead and lock it down in
the lower right corner of the dialog box.
| | 08:17 |
And by the way, the dialog box is too big
to totally fit on the screen.
| | 08:21 |
That's why it's getting cut off down here
at the bottom.
| | 08:24 |
Once you've made all the modifications
you think you might like, go ahead and
| | 08:27 |
click on the OK button in order to accept
that change.
| | 08:31 |
And now notice the word pasta, it's in
pretty good shape here.
| | 08:35 |
So this is the original version of the
photograph, which I can see by turning
| | 08:38 |
off the smart filter.
And this is what it looks like now.
| | 08:42 |
Thanks to the highly experimental,
artificial intelligence, provided by the
| | 08:46 |
Shake Reduction filter.
| | 08:48 |
| | Collapse this transcript |
| The shape-based Maximum filter| 00:00 |
In this movie I'll demonstrate the new
and improved Maximum and Minimum filters.
| | 00:05 |
And these filters have been around in the
other submenu here since the very
| | 00:09 |
beginning of Photoshop, and they've
received almost no attention since then.
| | 00:14 |
But now you can apply a Shape modifier,
so you don't necessarily get lots of
| | 00:18 |
squares out of 'em, and you can apply
decimal values as well.
| | 00:23 |
Whether or not you've ever touched these
filters in your life, I'll show you how
| | 00:27 |
they work.
So much better than in the past in the
| | 00:30 |
context of creating an edge map.
I've got this vintage image right here.
| | 00:36 |
Of course, as a result, it contains a ton
of noise.
| | 00:40 |
Now, let's say I want to Sharpen this
image, first thing I do is double-click
| | 00:43 |
on the background.
And I'll call this new layer Vintage and
| | 00:46 |
then I'll click OK.
And then I'll right-click inside the
| | 00:50 |
image window, with the rectangular
marquee tool, and choose Convert to Smart Object.
| | 00:55 |
Then I'll go out to the Filter menu,
choose Sharpen, and choose Smart Sharpen.
| | 00:59 |
And as you can see here, I've gone ahead
and reset the default values.
| | 01:04 |
So we've got it at an amount of 200%, a
Radius of 1, and so forth.
| | 01:08 |
I'm going to crank those guys up.
I'm going to take the amount to 500%, and
| | 01:11 |
I'm going to take the Radius up to 5
pixels, which will probably work better
| | 01:14 |
in print even though it looks terrible
here.
| | 01:19 |
I'll take the Reduce Noise value up to 50
percent, because there's a ton of noise
| | 01:23 |
in this image.
And I'll go ahead and change the remove
| | 01:26 |
value to Gaussian Blur.
Lens Blur really isn't accurate, because
| | 01:30 |
the softness of othe image has nothing to
do with a lens element.
| | 01:34 |
Rather it has to do with the age of the
photograph and the scanning process and
| | 01:37 |
so on.
So I'll go ahead and select Gaussian Blur instead.
| | 01:41 |
And you can see that we end up with a ton
of weird noise artifacts, along with this
| | 01:47 |
sharper detail.
And now I'll go ahead and click OK, in
| | 01:52 |
order to accept that change.
So what we need to do is create an edge
| | 01:56 |
mask that tells Photoshop exactly which
portions of the image qualify as edges,
| | 02:01 |
and which do not.
So the first thing I'm going to do is
| | 02:06 |
turn off the smart filters, so I can
regain access to the original image.
| | 02:10 |
And then, I'll switch to the Channels
panel right next door here.
| | 02:14 |
And I'll go ahead and grab the green
channel.
| | 02:16 |
That's usually your best bet, and Drag it
and Drop it onto the page icon at the
| | 02:19 |
bottom of the channel to make a copy.
I'll go ahead and rename this guy Edge Mask.
| | 02:26 |
And then the first thing we need to do is
get rid of as much noise inside this
| | 02:29 |
image as possible using the levels
command.
| | 02:33 |
So go up to the Image menu, choose
Adjustments and choose Levels.
| | 02:36 |
Or you can just press Ctrl+L or Cmd+L on
a Mac.
| | 02:39 |
And the values I came up with are 50 for
the black point and then I went ahead and
| | 02:43 |
set the white point to 160.
As a result we get this very washed out
| | 02:48 |
image as you can see but we're only using
it as a mask so it doesn't matter that
| | 02:52 |
we've blown so many highlights.
Now, click okay in order to accept that change.
| | 02:59 |
The next step is to go to the Filter
menu, choose Stylize and choose find edges.
| | 03:04 |
And then I'll go ahead and trace all the
edges inside the image like so.
| | 03:07 |
Now the way things are we've got black
edges against the white background.
| | 03:11 |
We want the opposite effect so that we
can select the edges.
| | 03:15 |
So I'll just press Ctrl+I or Cmd+I on the
Mac to invert the image.
| | 03:19 |
And now what you want to do is expand the
edges so that we're well selecting them
| | 03:23 |
so that we have plenty of room.
And you do that by going up to the Filter
| | 03:29 |
Menu, > choosing Other and then >
choosing Maximum.
| | 03:32 |
Now here's the reasoning, Maximum goes
ahead and expands the maximum luminous
| | 03:37 |
level, which is white.
Whereas Minimum goes ahead and expands
| | 03:42 |
the minimum luminous level, which is
black.
| | 03:45 |
So we want Maximum.
And then, you're going to see by default
| | 03:49 |
that the Radius value is set to 1 pixel,
and preserve is set to squareness.
| | 03:52 |
Now, this is the way the filters always
worked.
| | 03:55 |
So if I pressed the up arrow key in order
to increase that radius value, I change
| | 03:59 |
it in whole pixel increments.
And as a result we get these big squares.
| | 04:04 |
Because we're tracing around square
pixels.
| | 04:06 |
You don't have to work that way anymore
though.
| | 04:08 |
You can change Preserve to Roundness,
which is going to give way better results.
| | 04:13 |
And as soon as you do that, notice we're
tracing with circles this time around.
| | 04:17 |
Then you can modify the Radius value in
increments of a tenth of a pixel.
| | 04:21 |
And so I'm going to take this value to
2.5 pixels for the purposes of this
| | 04:25 |
particular image, and then I'll click OK
to accept that change.
| | 04:31 |
Now we want to soften the transitions and
you do that the old fashioned way by
| | 04:35 |
going up to the Filter menu, choosing
Blur and then choosing Calcium blur.
| | 04:40 |
And I'm going to set the radius value to
twice to what I just applied using the
| | 04:44 |
maximum filter which is 5 pixels.
And I'll click OK, and we've now got an
| | 04:49 |
edge mask.
Now you can go ahead and load it on up by
| | 04:52 |
Ctrl+clicking or Cmd+clicking on that
mask thumbnail right there.
| | 04:57 |
Then click on RGB to return to the full
color version image.
| | 05:00 |
Switch back to the Layer's panel here, go
ahead and turn the Smart filters back on.
| | 05:06 |
Right click inside this default filter
mask, the little white thumbnail, and
| | 05:10 |
choose Delete filter mask to get rid of
it.
| | 05:14 |
Believe it or not, this is the best way
to work.
| | 05:16 |
Then right click on the words Smart
Filters.
| | 05:19 |
And choose Add Filter Mask in order to
add a filter mask to the image.
| | 05:24 |
And we end up getting this effect here.
So if I Shift+click on the filter mask,
| | 05:27 |
this is what the image looks like without
it.
| | 05:30 |
Got tons of noise throughout the image.
And if I Shift+click again, this is what
| | 05:33 |
the image looks like with the mask.
And then at this point, you could
| | 05:38 |
double-click on the little slider icon,
associated with Smart Sharpen, in order
| | 05:41 |
to bring up the Blending Options dialog
box.
| | 05:45 |
And then you always want to do this when
sharpening an image.
| | 05:48 |
Change Mode from normal to luminosity, so
that you sharpen just the detail inside
| | 05:52 |
the image without affecting the color.
In my case, I'm going to take the Opacity
| | 05:58 |
level down to 66% just to temper the
effect, and then I'll click OK.
| | 06:03 |
Press Ctrl+0 or Cmd+0 on a Mac, to zoom
out.
| | 06:07 |
And the result, friends, is a much more
sharply defined version of the image.With
| | 06:11 |
none of the inherent noise and
artifacting.
| | 06:14 |
Thanks to the application of an Edge
Mask.
| | 06:17 |
With the help of the dramatically
improved Maximum Filter inside Photoshop.
| | 06:23 |
| | Collapse this transcript |
| Creating conditional multistep actions| 00:00 |
In this movie, I'll show you at least one
way to take advantage of conditional
| | 00:04 |
actions inside Photoshop and the idea is
that you create an action that plays one
| | 00:08 |
set of operations under one condition.
And another set of operations under
| | 00:14 |
another condition and it does so entirely
automatically.
| | 00:18 |
So what we're going to do is create an
action that converts these images here to
| | 00:22 |
CMYK for for prepress.
And it also checks to see if the image
| | 00:26 |
contains an alpha channel, and if so, it
gets rid of that alpha channel.
| | 00:30 |
Because alpha channels can sometimes
cause problems depending on what software
| | 00:34 |
your commercial printer uses.
Now I happen to be looking at these
| | 00:39 |
images in Bridge.
Even though Bridge is included with the
| | 00:42 |
Creative Cloud, it is not installed along
with Photoshop by default.
| | 00:47 |
If you want Bridge as well as the Mini
Bridge inside Photoshop, then you need to
| | 00:51 |
go ahead and install Bridge manually.
In my case I am just going to go ahead
| | 00:57 |
and open this guy Portrait Shot, Number
2A which I happen to know does not
| | 01:01 |
contain alpha channel.
And incidentally, if you have access to
| | 01:05 |
my exercise files then inside that
folder, if you scroll down a little bit,
| | 01:09 |
you'll see this guy here called
CMYKaction.atn.
| | 01:13 |
These are the actions that I recorded in
advance and you can load them up simply
| | 01:17 |
by double clicking on that file either in
Bridge or at your desktop.
| | 01:22 |
And then when you bring up the Actions
panel by going to the Window menu and
| | 01:25 |
choosing Actions, you will see those CMYK
actions right there.
| | 01:29 |
I'm going to go ahead and twirl close
Default Actions.
| | 01:32 |
The ones that ship along with PhotoShop.
Now, you don't need those actions because
| | 01:37 |
we'll be creating them together, step by
step.
| | 01:40 |
I'm going to switch back to bridge by
going to the File menu and choosing
| | 01:42 |
Browse and Bridge.
And then, I'll navigate to this Warhol
| | 01:46 |
variations folder and open up this blue
guy right there.
| | 01:50 |
And go ahead and zoom on in as well so
that we can see what he looks like.
| | 01:55 |
Now, the first thing you need to do is
create an action set to house your actions.
| | 01:58 |
And you do that by clicking on this
little Folder icon at the bottom of the panel.
| | 02:02 |
And I'll call this guy new CMYK actions.
And then I'll click OK.
| | 02:07 |
And now we need to actually start
recording the action.
| | 02:10 |
What you do by clicking on the little
Page icon to create a new action file and
| | 02:14 |
I'll call this one, Convert to CMYK
because it's just a straight conversion
| | 02:18 |
and then I'll click Record.
Now, we are in fact recording the action
| | 02:25 |
as witnessed by this little red circle
down here at the bottom of the panel.
| | 02:30 |
So the first thing we need to do is go up
to Image menu, choose Mode and choose
| | 02:33 |
CMYK color to which Photoshop will
respond with a series of alert messages.
| | 02:38 |
First of all, it asks if it should
rasterize the smart objects.
| | 02:42 |
The answer is yes.
Go ahead and rasterize.
| | 02:45 |
Should it flatten the image?
Absolutely.
| | 02:47 |
Whenever you're converting from RGB to
CMYK you have to flatten the image
| | 02:50 |
because otherwise things may come out
looking very, very different.
| | 02:54 |
And then finally, Photoshop warns me that
I'm converting to the default CMYK space,
| | 02:59 |
which is just fine, so I'll click OK.
Now we need to compensate for any
| | 03:05 |
reduction in detail associated with the
color conversion process.
| | 03:09 |
And you do that by going up to the Filter
Menu, choosing Sharpen, and choosing
| | 03:12 |
Smart Sharpen.
These are the settings I came up with.
| | 03:17 |
You may want to restore the preset to
default, just so that nothing's going on
| | 03:20 |
with the shadows and highlights.
And then increase the amount value to
| | 03:25 |
250%, increase the radius value to 3
pixels, take reduce noise down to 0% and
| | 03:30 |
leave remove set to lens blur.
And then click OK.
| | 03:36 |
Now obviously, that's an exaggerated
effect.
| | 03:39 |
And I'm sharpening both the color and the
detail inside the image.
| | 03:44 |
I need to back it off, but because I
applied smart sharpen as a static effect,
| | 03:47 |
I don't have access to my little slider
icon here in the Layers panel.
| | 03:51 |
So instead you go to the Edit menu, and
you choose Fade Smart Sharpen.
| | 03:56 |
Next you want to change the mode from
Normal to Luminosity.
| | 03:59 |
And I'm going to also reduce the opacity
to 50%, then click OK.
| | 04:04 |
Now what we want to do is save this file,
and you do that by going to the File menu
| | 04:07 |
and you don't want to choose the Save
command, rather you want to choose Save
| | 04:11 |
as so that you don't save over the
original version of the file.
| | 04:18 |
Then, back up to my Exercise Files folder
in which case, you'll find a subfolder
| | 04:22 |
called CMYK for print.
That's actually empty.
| | 04:25 |
It doesn't have anything in it.
And then you want to change the file type
| | 04:29 |
to TIF, which is the best for CMYK
pre-press files.
| | 04:34 |
And finally, click on the Save button.
Inside of the TIFF Options dialog box,
| | 04:38 |
you want to go and change the image
compression to the lossless LZW.
| | 04:42 |
Otherwise you're going to end up with
needless large files on your hard drive.
| | 04:47 |
Then you can leave the other two options
set to their defaults, and click OK.
| | 04:53 |
And then finally, after the file saves,
go ahead and close it.
| | 04:56 |
And then you want to stop recording by
clicking on the Stop button.
| | 05:00 |
Now we need to record an alternative that
accounts for alpha channels.
| | 05:04 |
I'll go to the File menu, chose browse in
Bridge and I happen to know that this
| | 05:07 |
file right here contains an alpha channel
or two.
| | 05:11 |
So we'll go ahead and double click on it,
open it up.
| | 05:14 |
And now I'll zoom in on the image.
And we'll start a new action by clicking
| | 05:19 |
on the little Page icon and I'll call
this one CMYK minus alphas because there
| | 05:23 |
maybe multiple alpha channels in any
given file.
| | 05:28 |
Then I'll click on the Record button.
Now I want to duplicate these first three
| | 05:32 |
steps in the action.
And the easiest way to do that is to stop
| | 05:35 |
recording, by clicking on the Stop
button.
| | 05:38 |
Then click on Convert mode, shift click
on Fade to select all three of them.
| | 05:42 |
Press the Alt key or the Option key on a
Mac and drag those steps and drop them
| | 05:46 |
into the new action like so.
And because you have the Alt or Option
| | 05:50 |
key down, you'll create a copy of those
steps.
| | 05:54 |
Now you want to play them on the image by
clicking on the Play button.
| | 05:58 |
And that will go ahead and convert the
image to CMYK very quickly by the way
| | 06:01 |
because actions play back much faster
than you record them.
| | 06:06 |
Now you want to click on this final step.
And very important, you want to start
| | 06:10 |
recording again.
It's very easy to forget to start recording.
| | 06:13 |
But go ahead and click on that circular
Record button.
| | 06:16 |
Then go up to the File menu and the thing
is if you switch over to the Channels
| | 06:19 |
panel, you'll see we've got these extra
channels right here, these alpha channels.
| | 06:25 |
And what could end up happening is the
hair channel, the first one masks the
| | 06:28 |
image when it prints and that would be a
disaster.
| | 06:32 |
So, best thing to do is get rid of them,
switch back to CMYK, go up to the File
| | 06:35 |
menu, choose the Save as command once
again.
| | 06:39 |
Navigate your way to that CMYK for print
folder, and switch the fill format to
| | 06:44 |
TIFF, and then turn off Alpha channels.
In which case you'll save a copy of this image.
| | 06:51 |
Then click on the Save button.
Presumably LZW'll still be selected, so
| | 06:54 |
go ahead and click OK here as well.
Now problem is, we didn't save off this file.
| | 07:01 |
So if I were to try to close it now,
Photoshop would prompt me to save it, and
| | 07:04 |
that could be a mess.
So to protect the original, I'll go up to
| | 07:08 |
the File menu and choose the Revert
command.
| | 07:11 |
And then, you want to go ahead and close
the image.
| | 07:14 |
And that ensures that it's protected, the
original, full-layered RGB image is in
| | 07:18 |
good shape.
Now you can click on the Stop button to
| | 07:21 |
stop recording.
Now we need to create a conditional
| | 07:25 |
action, and you do that by once again,
clicking on the little page icon, and
| | 07:29 |
I'll call this one alpha checker, and
then click Record.
| | 07:35 |
And the first thing you want to do is go
up to the Actions panel Flyout menu, and
| | 07:38 |
choose Insert Conditional.
And I'll set this If Current option to
| | 07:43 |
Document has Alpha Channels.
So you have to choose from some various
| | 07:48 |
conditions that Photoshop has set up in
advance.
| | 07:51 |
Well we do have Alpha channels, so that's
good.
| | 07:53 |
So if it's got Alpha channels, then you
want to play the action that gets rid of
| | 07:57 |
the Alpha channels, which is CMYK minus
Alphas.
| | 08:01 |
Otherwise, just play the standard action,
which is convert to CMYK.
| | 08:05 |
And then go ahead and click okay, that's
all there is to it.
| | 08:08 |
Now you can click on a stop button, and
you are done.
| | 08:12 |
Now, we are going to batch process all of
those image files from bridge by going up
| | 08:16 |
to the file menu, and choosing browse in
bridge.
| | 08:20 |
You want to go to your CMYK for print
folder if you're working along with me.
| | 08:24 |
You don't have to get rid of these images
that you created before, but you might as well.
| | 08:29 |
So I'll go ahead and select them both,
and press control backspace here on the
| | 08:33 |
PC, command delete on the Mac, and click
okay when Bridge asked me if I really
| | 08:36 |
want to delete the file.
Now I'll switch back to the Warhol variations.
| | 08:43 |
Click on any one of the files and press
Control A, or Command A on the Mac to
| | 08:45 |
select all of them.
Then go up to the Tools menu, choose
| | 08:50 |
Photoshop, and choose Batch.
And that'll switch you over to Photoshop.
| | 08:56 |
You want the set to be new CMYC actions,
or whatever you called, it, the action
| | 08:59 |
should be the last action you created,
which in my case is Alpha checker, which
| | 09:02 |
is perfect.
And then the source is Bridged, that's
| | 09:06 |
the source for the images and that's all
you need to do.
| | 09:09 |
You don't have to worry about the Open or
Save commands 'cuz they're already in
| | 09:13 |
there and now you just go ahead and click
OK.
| | 09:16 |
And you'll watch the various images open
and the various operations play and then,
| | 09:20 |
once you see the green image and you see
it go away, then you know that you're done.
| | 09:26 |
And so I'll go back to the File menu,
choose Browse in Bridge.
| | 09:30 |
And then I'll go ahead and switch over to
CMKY for print and you should see six
| | 09:34 |
different CMKY images.
And any of them that didn't include alpha
| | 09:38 |
channels, which are all the shots of the
guy.
| | 09:41 |
They will not have the word copy
associated with them, whereas all the
| | 09:45 |
images of the woman, which did include
alpha channels, have the word copy,
| | 09:49 |
because after all, we saved off a copy of
the image.
| | 09:54 |
But if you want to just confirm, then go
ahead and double-click on this first
| | 09:57 |
image, like so.
Go ahead and zoom in.
| | 10:00 |
You can tell that it's a CMYK image.
And I've still got my channels panel up
| | 10:04 |
and sure enough I just have the cyane /g,
magenta, yellow and black channels, no
| | 10:07 |
alpha channels are there.
And if I switch to the Layers panel, I
| | 10:12 |
have a flat image file.
And that friends is as I say, one way to
| | 10:17 |
take advantage.
Of the new conditional actions inside Photoshop.
| | 10:23 |
| | Collapse this transcript |
|
|
2. Camera Raw UpdatesApplying Camera Raw as a Smart Filter| 00:00 |
Arguably, the single most powerful
component of Photoshop is Camera Raw.
| | 00:05 |
Now you might argue that Camera Raw is
actually an independent utility that just
| | 00:09 |
happens to be hosted by Photoshop.
But nowadays, it really is part of Photoshop.
| | 00:15 |
If you go up to the Filter>Camera Raw
Filter, that has a keyboard shortcut of
| | 00:19 |
Ctrl+Shift+A, or Cmd+Shift+A on the Mac.
The a being for Adobe Camera Raw, or ACR
| | 00:26 |
for short.
And you can apply the Camera Raw Filter
| | 00:30 |
either as a static effect to a pixel
based layer, or you can apply it as a
| | 00:33 |
dynamic effect to a Smart Object, and
we'll be doing the latter, because after
| | 00:37 |
all it gives us a lot more flexibility.
Now the first thing I want to do is
| | 00:43 |
modify the color of this background
photograph, so it provides a color
| | 00:46 |
compliment to this green monster I've
drawn in the foreground.
| | 00:51 |
So I need to convert this layer to a
Smart Object, notice that it's selected
| | 00:54 |
the forest layer here inside the Layers
panel.
| | 00:57 |
So I'll go ahead and right click in the
image window using the Rectangular
| | 00:59 |
Marquee Tool.
And I'll choose Convert to Smart Object,
| | 01:03 |
then I'll go up to the Filter>Camera Raw
Filter, which will bring up the entire
| | 01:07 |
camera raw interface, as you can see
right here and I can apply it directly to
| | 01:11 |
this layer.
So it's no longer a function of having an
| | 01:16 |
independent raw image file, or even a
JPEG or a TIFF file, rather you can apply
| | 01:20 |
it directly inside Photoshop.
Now the first thing I want to do is
| | 01:25 |
darken up this image pretty dramatically.
So I'm going to take the exposure down to
| | 01:29 |
negative two.
And then I'll take the whites value up to
| | 01:33 |
30 and I'll take the blacks value up to
30 as well.
| | 01:37 |
Now I want to adjust the temperature and
tint.
| | 01:39 |
And the great thing about these controls
is that they are found literally nowhere
| | 01:44 |
else inside Photoshop.
But now they're available in the form of
| | 01:48 |
the world's most powerful adjustment
layer, really.
| | 01:50 |
I'll go ahead increase temperature value
to 65 and then I'll take the tint value
| | 01:55 |
all the way up to its maximum, which is
plus 100.
| | 02:00 |
Now I want to increase both the Vibrance
and Saturation values to 50, and that
| | 02:03 |
gives you this effect right here.
And now I'll click OK, in order to apply
| | 02:09 |
that filter.
Now because this is a Smart Filter, I can
| | 02:12 |
modify the blend and opacity, by
double-clicking on the slider icon, to
| | 02:16 |
the right of the words, Camera Raw
Filter.
| | 02:21 |
Here inside the Layers Panel.
And then I'll go ahead and bring up the
| | 02:23 |
Blending Options dialog box.
And I'm going to change the Mode from
| | 02:27 |
normal to hard light, in order to achieve
this effect right here.
| | 02:31 |
And then I'll click OK.
Now if I zoom in on this image by
| | 02:35 |
pressing Ctrl+1 or Cmd+1 on the Mac, and
by the way, it may take a moment for this
| | 02:38 |
image to zoom on screen, because it's
quite large.
| | 02:43 |
Go ahead and zoom in a little farther
here.
| | 02:45 |
You'll see that we have a little bit of
noise associated with the background
| | 02:48 |
image, but we have no noise whatsoever
associated with the cartoon monster in
| | 02:52 |
the foreground.
I want to integrate them with a little
| | 02:55 |
bit of noise across the entire image.
So, I'll press Ctrl+0, or Cmd+0 on a Mac,
| | 02:59 |
to zoom out and I'll click on this
Highlights layer up here at the top of
| | 03:02 |
the stack.
And I'll add a layer of gray, by pressing
| | 03:06 |
the Alt key, or the Option key on the
Mac, an then clicking, on the black white
| | 03:10 |
circle icon, at the bottom of the layers
panel, and I'll choose solid color.
| | 03:17 |
And because I have the Alt or Option key
down, Photoshop displays the new layer
| | 03:20 |
dialoge box.
So I can go ahead an name this layer
| | 03:23 |
gray, an now I'll click okay.
An I'll go ahead an change the brightness
| | 03:27 |
value to 50%.
So you want to hue of zero, a saturation
| | 03:31 |
of zero and a brightness of 50 an that
gives you 50% gray.
| | 03:35 |
Now I'll click OK.
We want to go ahead an assign some noise,
| | 03:39 |
to this layer, using once again, camera
Raw.
| | 03:43 |
In order to do that, if you go up to the
filter menu right now, an choose camera
| | 03:46 |
Raw filter, it tells you that it needs to
rasterize the layer.
| | 03:51 |
That's not what we want to do, so just go
ahead an cancel out there.
| | 03:53 |
Instead you want to right-click inside
the image window, once again with the
| | 03:56 |
Rectangular Marquee Tool and choose
Convert to Smart Object.
| | 04:00 |
After that process completes, you'll
want to go up to the Filter> Camera Raw Filter.
| | 04:07 |
This time we want to switch to the FX
tab.
| | 04:09 |
So go ahead and click on it, if you're
following along with me.
| | 04:12 |
And I'm going to increase the grain value
here, the amount, to 100%, which is the
| | 04:15 |
maximum and I'll take the size value up
to it's maximum as well which is a
| | 04:18 |
hundred and I'll leave the roughness set
to it's default, which is 50.
| | 04:24 |
And then I'm going to tab down to the
amount values associated with the post
| | 04:27 |
crop vignetting.
And I'm going to change this value to
| | 04:30 |
negative 50%.
So we end up with a dark vignette around
| | 04:33 |
the entire layer.
And now click OK in order to accept that effect.
| | 04:39 |
And the reason I'm going this route using
Camera Raw, instead of Add Noise, for
| | 04:42 |
example, is because with Camera Raw you
can actually control the size of the bits
| | 04:46 |
of noise and it ends up looking much more
photographic.
| | 04:51 |
And now I'll change the blend mode for
the entire layer from normal to soft
| | 04:54 |
light in order to produce this effect
here and you could see we now have a
| | 04:57 |
consistent level of noise.
Across both the foreground monster, and
| | 05:03 |
his photographic background.
But he doesn't look all the well integrated.
| | 05:09 |
Not only because he's a cartoon, which
he'll remain.
| | 05:11 |
But also because he's so much more
sharply defined than the image in the background.
| | 05:19 |
So I want to soften him up a little bit.
And I'm going to do that by applying the
| | 05:22 |
field blur filter to a Smart Object.
So I'm going to go ahead and click on
| | 05:27 |
Highlights, which represent the
highlights on the top of the monster's
| | 05:30 |
head, and I'll shift click on hair in
order to select this range of layers
| | 05:33 |
right there.
And I want to combine them all into a
| | 05:36 |
Smart Object.
Now I want you to see something down here
| | 05:39 |
in the bottom left corner of the window.
27.4 megabytes that's the size of the
| | 05:43 |
file in RAM, in your computer's memory,
if it was flat But it contains a bunch of
| | 05:47 |
layers which is why it's 304.9 megabytes,
in RAM.
| | 05:52 |
Well that's not actually accurate.
Whenever you're working with smart
| | 05:56 |
objects, things are much trickier than
this, and Photoshop doesn't really
| | 05:58 |
represent things properly.
I want you to notice what happens with
| | 06:02 |
the second value.
When I right click inside the image
| | 06:05 |
window, and choose Convert to Smart
Object, it declines precipitously from
| | 06:09 |
349 megabytes, down to 158.2 megabytes,
as if combining this guy into a smart
| | 06:13 |
object somehow saved us tons of room in
RAM, it's actually not the case.
| | 06:19 |
In fact The file just grew a little bit.
But I mention this just by way of passing
| | 06:24 |
because we'll come back to this topic in
just a moment.
| | 06:27 |
But in the meantime with the Smart Object
selected, which I'll now call monster,
| | 06:32 |
I'll go onto the Filter> Blur> Field
Blur.
| | 06:37 |
In this time, I want to blur the entire
monster, every bit him but not to this extent.
| | 06:42 |
I don't want a blur value of 15 pixels.
So I'll just go ahead and take this value
| | 06:45 |
down to three pixels, which gives me more
or less of a match here between the focus
| | 06:49 |
of the monster that is the sharpness of
the details and the sharpness of the
| | 06:52 |
details in the background as well.
And now I'll go ahead and click OK in
| | 06:59 |
order to accept that effect, and I'll
press Ctrl+ 0, or Cmd+0 on the Mac, in
| | 07:02 |
order to zoom out so we can take in the
entire composition.
| | 07:08 |
There is a caveat associated with
applying Camera Raw as a Smart Filter,
| | 07:11 |
and that's that you end up getting very
large files when you save the image to
| | 07:15 |
your hard drive.
I'm going to go ahead and switch over to
| | 07:19 |
this chart here, which documents every
step in the process I just applied.
| | 07:25 |
The original file on disk, this is not in
RAM, this is on disk, is 62.5mb.
| | 07:31 |
So all of these numbers are measured in
megabytes, and that's for 50 plus layers.
| | 07:37 |
At the moment I converted that forest
layer to a Smart Object.
| | 07:40 |
If I were to save the file, it would
become 117 megs.
| | 07:44 |
That's an increase in 54.5 megabytes.
So we almost doubled the file size with
| | 07:48 |
that one single operation.
And then the other two big operations
| | 07:52 |
were applying Camera Raw to the forest
layer, which increased the file size by
| | 07:56 |
34.5 megabytes.
And then when I applied camera row to the
| | 08:01 |
gray layer, it grew by just a little more
than 27 megabytes.
| | 08:06 |
All in all, the file grew by a 118.8
megabytes, which is a growth of 190%.
| | 08:13 |
Which is pretty extreme, so this is the
size.
| | 08:16 |
Of the final file on disk.
So I just want you to know that these
| | 08:21 |
final sizes do grow quite dramatically.
Both when you're employing smart objects
| | 08:26 |
in general, and when you're employing
Camera Raw.
| | 08:30 |
As a Smart Filter.
And that by the way right there, this
| | 08:33 |
step convert the monster layers to a
Smart Object.
| | 08:36 |
That's the step that reduced the size of
the file in RAM, supposedly.
| | 08:40 |
It didn't, really, it's just that this
indicator down here doesn't compensate
| | 08:43 |
for Smart Objects.
It actually grew the file by nearly.
| | 08:47 |
Six megs, on disk.
The tradeoff, of course, is that you get
| | 08:52 |
an enormous amount of power, in the form
of camera raw, applied as a smart filter,
| | 08:56 |
here inside Photoshop.
| | 08:59 |
| | Collapse this transcript |
| Automatic level and perspective correction| 00:00 |
In this movie we'll take a look at one of
the new features inside Camera Raw, which
| | 00:03 |
allows you to automatically correct the
level and perspective of a scene.
| | 00:09 |
It's really all about making the image
look straight so, for example, in this
| | 00:13 |
case, I have this photograph of the
swimming pool at San Simeon.
| | 00:18 |
And it looks as if the image is leaning
down into the right.
| | 00:22 |
So what you normally do is switch to the
Crop tool.
| | 00:25 |
What you can get by pressing the C key,
and then you'd select the Straighten
| | 00:29 |
icon, appear in the Options bar, and you
might drag along the bottom.
| | 00:34 |
Let's say, of this false temple back here
at the rear of the scene.
| | 00:39 |
Assuming things look more or less the way
they should, then you press the Enter
| | 00:42 |
key, or the Return key on the Mac, in
order to invoke that operation.
| | 00:46 |
Problem is, even though the temple's now
straight, the scene doesn't look any
| | 00:50 |
straighter than it did before.
And a lot of that has to do with these
| | 00:54 |
perspective lines that are leaning down
and to the left now at the bottom of the image.
| | 00:59 |
But we also have all kinds of lines going
on including the vertical lines implied
| | 01:03 |
by these trees which should be more or
less parallel as well.
| | 01:09 |
I'm not going to be able to straighten
the scene conventionally, however I can
| | 01:12 |
automatically correct it inside Camera
Raw.
| | 01:15 |
So I'll press Ctrl+Z or Cmd+Z on a Mac to
undo the (UNKNOWN) and then I'll go over
| | 01:19 |
to the Layers panel.
And you can see that I have established
| | 01:23 |
this Camera Raw smart object in advance.
Go ahead and double-click on its
| | 01:28 |
thumbnail in order to launch Camera Raw.
Then I'll go ahead and switch over to
| | 01:33 |
this tab, the one that says lens
corrections when you hover over it.
| | 01:37 |
You want to switch from profile over to
manual.
| | 01:40 |
And you'll see these new upright options
right here, and I'm going to start things
| | 01:44 |
off with the simplest of them, which is
level, and it says apply only level correction.
| | 01:50 |
So what I'm going to do is zoom in a
little bit here so we can see what happens.
| | 01:54 |
I'll go and scroll up as well.
And then I'll select that icon.
| | 01:57 |
And notice that goes ahead and
compensates for the horizontal elements
| | 02:01 |
in the scene.
Doesn't compensate for the vertical
| | 02:05 |
elements, and it also doesn't correct
this perspective down here at the bottom.
| | 02:10 |
So it pretty much straightens the image,
much in the same way that we can do with
| | 02:13 |
the crop tool.
If you also want to correct for the
| | 02:16 |
vertical elements of this scene, and
we're going to be able to see what's
| | 02:19 |
going on better here.
If I turn on the Show Grid checkbox down
| | 02:22 |
here at the bottom of the window.
And you can see though, we've got some
| | 02:27 |
leaning associated with these vertical
columns.
| | 02:29 |
And I can go ahead and correct for this
as well by selecting this next icon in
| | 02:33 |
vertical, apply level and vertical
perspective corrections.
| | 02:38 |
And we end up getting this version of the
scene here.
| | 02:41 |
So now the The columns are more or less
straight up and down, and so are the trees.
| | 02:46 |
But if I press Ctrl+0, or Cmd+0 on a Mac,
to zoom out, you can see that Camera Raw
| | 02:49 |
is heavily distorting this image.
And we're going to end up with these
| | 02:54 |
triangular wedges, up here in the top
right and top left corners.
| | 03:00 |
Now, if you want to correct even more
elements of the scene.
| | 03:03 |
For example, you want to try to make sure
that these horizontal elements down here
| | 03:07 |
at the bottom of the photograph are
straight as well.
| | 03:10 |
Then you want to select this third
option, full which applies level,
| | 03:13 |
horizontal, and vertical perspective
corrections.
| | 03:17 |
And we're going to end up with this
variation here but, again this is a
| | 03:20 |
significant distortion that leaves these
transparent wedges at the top of the photograph.
| | 03:26 |
Now there's one more icon available to
us, and It's Auto, the one that's
| | 03:29 |
represented by the A.
And it's the one that you're probably
| | 03:33 |
going to apply most often.
What it does is it tries to split the
| | 03:37 |
difference between all of the
corrections.
| | 03:40 |
And it doesn't do this number at the top
of the image or at the bottom.
| | 03:44 |
It's not going to apply this degree of
distortion.
| | 03:48 |
So, I'll go ahead and click on Auto.
We're just going to try to balance the
| | 03:52 |
various perspective corrections, notice
that we end up getting this version of
| | 03:55 |
the scene.
So, not everything's perfect as you can see.
| | 04:01 |
For example, these horizontal lines are
still a little bit out of plum, but the
| | 04:04 |
trees look pretty darn good.
They're more or less vertical, parallel
| | 04:08 |
to each other as well.
And the same goes for the columns.
| | 04:13 |
So if you like what you see, you can
apply the corrections as simply as
| | 04:16 |
clicking the OK button.
Which will take you back into Photoshop,
| | 04:20 |
and we'll end up with this corrected
version of the photograph.
| | 04:25 |
And that's how you take advantage of what
is commonly known as automatic upright in
| | 04:29 |
Camera Raw.
| | 04:31 |
| | Collapse this transcript |
| Painting with the Spot Removal tool| 00:00 |
In this movie, we'll take a look at the
new and improved Spot Removal tool inside
| | 00:04 |
Camera Raw.
Which is now for all intents and purposes
| | 00:08 |
a souped up version of the Healing brush.
And I'm going to use it by the way, in
| | 00:13 |
order to heal away this scratch on my
youngest son's Sam's face.
| | 00:19 |
Now I'm set things up in advance, so I've
got a Camera Raw Smart Object here inside
| | 00:21 |
the Layers panel.
That means I can open Camera Raw just by
| | 00:25 |
double-clicking on the layers thumbnail.
And then I'll go ahead and zoom in as
| | 00:29 |
well to about the 50% view size.
Works well on this screen.
| | 00:34 |
And you get to the Spot Removal tool, by
clicking on this little brush icon up in
| | 00:37 |
the Toolbar.
Now in the old days, you used to just
| | 00:41 |
click with this tool.
So for exampl, if I wanted to get rid of
| | 00:44 |
this little mark right there, then I
would press the left bracket key a few
| | 00:48 |
times to reduce the size of the brush.
And then I'd go ahead and click at this location.
| | 00:55 |
And now you can see the destination
indicated by the red circle, and the
| | 00:58 |
source indicated by the green circle.
And I can move that source to any
| | 01:03 |
location I like.
That's great if you're trying to correct
| | 01:07 |
for spots in an image, especially if
you've got for example, dust on the lens,
| | 01:10 |
something along those lines.
But if you want to do some cosmetic
| | 01:14 |
retouching, then you've got to be able to
drag with the tool, which is what you can
| | 01:18 |
do now.
So I'll just go ahead and drag over this
| | 01:22 |
region right there in order to indicate
the portion of the image I want to heal.
| | 01:28 |
You're best off dragging a lit bit
outside of the region you want to heal.
| | 01:33 |
In other words, you want to leave some
margin in there.
| | 01:35 |
And then I'll go ahead and release.
And now notice that the red area once
| | 01:39 |
again indicates the destination, and the
green area indicates the source.
| | 01:44 |
And now you can move that source to any
other location you like.
| | 01:48 |
Now, setting the source can be tricky
when you're working inside of an image,
| | 01:51 |
and really does determine how successful
your healing turns out to be.
| | 01:56 |
So, to gauge the results, what you do is
you turn off the Show Overlay check box,
| | 02:00 |
or you can just press the V key, in order
to hide both the source and the destination.
| | 02:07 |
And then you can gauge whether or not
things look good.
| | 02:09 |
In my case, they look awfully good,
actually.
| | 02:12 |
But if they don't, you can ask for a
little bit of help from Camera Raw.
| | 02:17 |
And you do that by pressing the V key
again in order to bring back the overlay.
| | 02:22 |
And notice you can switch between your
various spot removals, by clicking on
| | 02:25 |
these items here.
And when you paint with the tool, you end
| | 02:29 |
up seeing a pin like so.
I'll go ahead and click on it.
| | 02:32 |
And then I want you to see this tip over
here on the right side of the window,
| | 02:35 |
that tells you to press the slash key to
auto-patch the selected spot.
| | 02:40 |
What that's telling you is, if you press
the Slash key, then Camera Raw will
| | 02:44 |
automatically select a new source
location.
| | 02:47 |
So I'll press Slash and it just goes
ahead and moves this thing over just a
| | 02:50 |
little bit.
The interesting thing about this is it
| | 02:54 |
depends on where you've set your source
in the first place.
| | 02:57 |
So if I drag the source to a totally
different location, like over here on the
| | 03:01 |
side of Sam's face and I press the Slash
key again.
| | 03:05 |
Notice that I get a totally different
sore spot.
| | 03:08 |
And in my case, Camera Raw has seen fit
to move the source outside of Sam's face.
| | 03:14 |
And I can whether that looks any good by
pressing the V key, in order to hide the overlay.
| | 03:18 |
And it actually doesn't look too good at
all.
| | 03:22 |
I'm going to go ahead and zoom in, and
you can tell if you look closely that
| | 03:25 |
this is not a good match.
I'll go ahead and zoom out.
| | 03:29 |
There's another way to gauge the success
of your matches, and that's to take
| | 03:33 |
advantage of this check box right there,
Visualize Spots.
| | 03:36 |
So the first thing that I'm going to do
is press the V key to bring back my
| | 03:39 |
overlay, and I'm going to drag this
source to what should be a better location.
| | 03:45 |
And then I'll go ahead and turn on this
Visualize Spots check box.
| | 03:49 |
And we will see the sort of network of
worms inside the image.
| | 03:53 |
Now, by default, it's going to look more
like this.
| | 03:57 |
Where you're going to see a little bit of
white against the black background.
| | 04:01 |
Now, what we're seeing here is an edge
mask.
| | 04:03 |
That is to say, all of the edges, the
areas of rapid luminance transition
| | 04:06 |
inside the image, are indicated by white.
And the non edges are indicated by black.
| | 04:11 |
And that can help you gauge whether
you've got a good match in the first place.
| | 04:17 |
However, what I recommend you do is drag
this slider triangle over to the right.
| | 04:22 |
So you've got more edges at your
disposal.
| | 04:24 |
And then press the V key in order to hide
the overlay and see how well the new
| | 04:28 |
edges match with the edges around them.
And in my case, things look pretty darn good.
| | 04:34 |
But if they don't, if you want to move
things around and try a different source,
| | 04:38 |
then press the V key to bring back the
overlay and drag this guy to a new
| | 04:41 |
location, and you'll create a new set of
edges, there, inside the destination.
| | 04:48 |
And they're not going to necessarily
totally match.
| | 04:51 |
Notice that this little edge right there,
is duplicated at this spot.
| | 04:56 |
However, some of these details over here
in the left hand side are looking a
| | 05:00 |
little different inside of the
destination, and that's because Camera
| | 05:03 |
Raw is automatically making some
modifications around this red outline,
| | 05:07 |
right here.
So that the source edges better match the destination.
| | 05:14 |
And again I'll press the V key in order
to hide the overlay so we can gauge how
| | 05:17 |
good things look.
And then, if you want to get a sense of
| | 05:21 |
what the image really looks like, then
you can turn off this Visualize Spots
| | 05:24 |
check box or you've got another keyboard
shortcut, which is the Y key.
| | 05:29 |
And that goes ahead and turns off the
edge mask, and displays the full color
| | 05:32 |
image instead.
And that looks okay, but I thought I had
| | 05:35 |
a better source earlier.
So I'm going to press the V key to bring
| | 05:38 |
back my overlay, and I'll go ahead and
drag this source down and to the right a
| | 05:41 |
little bit, and then I'll press the V key
again to hide it.
| | 05:46 |
Assuming that I like what I see, then
I'll go ahead and click on the OK button
| | 05:50 |
in order to apply that modification, and
heal away that scratch on Sam's face.
| | 05:55 |
And of course the great thing about
working this way, is if you later decide
| | 05:58 |
that this retouching doesn't look exactly
the way you want it too, then you can
| | 06:01 |
just go ahead and double-click on the
thumbnail, in order to bring back Camera Raw.
| | 06:07 |
And then you can just adjust that Spot
Removal to taste.
| | 06:09 |
And in fact, I'll go ahead and do it, by
double-clicking on that thumbnail there.
| | 06:14 |
And I'll zoom in, and you may notice
there is no evidence that we applied any
| | 06:17 |
sort of spot removal, and that's because
I've got the wrong tool selected.
| | 06:22 |
You actually have to switch back to the
Spot Removal tool, and then you've gotta
| | 06:25 |
go ahead and click on that pin to once
again select it.
| | 06:29 |
In my case I'm happy with this
modification, but I want to heal this guy
| | 06:32 |
right there a little bit as well.
And I'll go ahead and move this guy down
| | 06:36 |
a little bit, and press the V key to make
sure I like what I see.
| | 06:40 |
And assuming it's good enough, I'll go
ahead and once again click OK in order to
| | 06:44 |
update the image inside Photoshop.
And that, friends, is how you take
| | 06:49 |
advantage of the new and improved Spot
Removal tool, included along with Camera Raw.
| | 06:54 |
| | Collapse this transcript |
| Creating vignettes with the Radial Filter tool| 00:00 |
In this movie, I'll show you how to
create a couple of custom vignettes using
| | 00:03 |
the new Radial Filter tool, inside Camera
Raw.
| | 00:07 |
And along the way we'll take this
portrait photograph from the Fotolia
| | 00:10 |
image library and we'll convert it into
this final effect here.
| | 00:16 |
And a great thing about working this way
is you can set your vignettes anywhere
| | 00:19 |
you like inside the image.
They don't have to be centered inside the
| | 00:23 |
image as a whole, and they can be
elliptical or circular.
| | 00:26 |
And you can pile on as many vignettes as
you like.
| | 00:31 |
I'll go ahead and switch over to my
starter image, which is a flat JPEG file,
| | 00:35 |
so I'll be applying Camera Raw as a Smart
Filter.
| | 00:38 |
First step is to convert the background
to a layer by double-clicking on it, here
| | 00:42 |
inside the Layers panel.
And I'll go ahead and name this layer
| | 00:46 |
Woman, and then click OK.
Next I'll right-click inside the image
| | 00:50 |
window with the Rectangular Marquee tool,
and I'll choose Convert to Smart Object.
| | 00:55 |
Now go up to the Filter menu and choose
Camera Raw filter, or you can press
| | 00:59 |
Ctrl+Shift+A, or Cmd+Shift+A on the Mac,
in order to open the image inside Camera Raw.
| | 01:06 |
Now as with all tools inside Camera Raw,
the Radial Filter tool is located up here
| | 01:10 |
in the toolbar.
So, go ahead and click on it to select
| | 01:14 |
it, and then you want to drag from
approximately the center of the models
| | 01:17 |
face which would be right between her
eyes and drag outward, like so.
| | 01:23 |
Now, as you can see, you can create an
elliptical vignette, either wide or tall
| | 01:28 |
like so.
If you want to move the vignette to a
| | 01:32 |
different location as you're creating it,
then press and hold the Spacebar like so,
| | 01:36 |
and then as soon as you release the
spacebar you'll return to scaling the vignette.
| | 01:43 |
And then, if you want it to be a perfect
circle, as I do.
| | 01:45 |
Then press and hold the Shift key as you
draw the shape.
| | 01:49 |
And I'll go ahead and make it about this
big, so that there's a lot of space
| | 01:52 |
around the model's head.
Now, notice that you have this red dot in
| | 01:56 |
the center of the vignette.
And that indicates that any modifications
| | 02:01 |
you apply will occur outside of the
vignette as opposed to inside.
| | 02:06 |
Now, I'll go ahead and dial in some
values, here.
| | 02:08 |
I'm going to leave the Temperature set to
0, and I'm going to take the Tint down to
| | 02:12 |
negative 5.
And then, I want my vignette to be dark,
| | 02:15 |
so I'll reduce the Exposure value to
negative 2.
| | 02:18 |
I'll increase the Contrast to 30, and
then I'll take the Highlights value down
| | 02:22 |
to negative 30.
I'll leave the Shadows value alone for
| | 02:26 |
now, and I'll increase the Clarity to
100.
| | 02:29 |
And then I'll take the Saturation down to
negative 30.
| | 02:33 |
Now I want to create another vignette,
this time that affects the model's face
| | 02:36 |
instead of the area outside of her face.
And you can do that in a couple of
| | 02:41 |
different ways.
One is to click well outside of the
| | 02:43 |
shape, so notice if you position the
cursor close to the shape, you get the
| | 02:47 |
rotate cursor.
That's going to make a difference if
| | 02:50 |
you're working with, an elliptical
vignette, so for example if I were to
| | 02:54 |
drag this bottom handle up, like so, in
order to make the vignette shorter than
| | 02:57 |
it is wide.
And then I drag outside the vignette, I
| | 03:02 |
go ahead and rotate it to any angle I
like.
| | 03:05 |
Again it's not an option when you're
applying standard vignettes inside Camera Raw.
| | 03:10 |
My case, I'm not really looking to do
that, so I'll press Ctrl+Alt+Z, or
| | 03:13 |
Cmd+Option+Z, a couple of times in a row
there.
| | 03:17 |
And by the way, if you decide you do
want to scale the vignette, but want it
| | 03:20 |
to stay circular, then press and hold the
Shift key as you drag any one of those handles.
| | 03:26 |
But what I'm looking to do is create a
new vignette.
| | 03:29 |
And you do that by moving your cursor
sufficiently far that it appears as a cross.
| | 03:34 |
And then you can click, in order to
deselect the existing vignette, like so.
| | 03:39 |
Or, I'll go ahead and select that
vignette again by clicking on its dot.
| | 03:43 |
You can also select the New Radio button
up here at the top of the list.
| | 03:49 |
And now, I'll drag to create another
vignette, like so.
| | 03:52 |
And I might use the Spacebar in order to
center it on the model's face, like so.
| | 03:56 |
And then I'll release the Space Bar, and
press and hold the Shift key as I'm
| | 03:59 |
dragging to create this shape.
Notice that it's applying the exact same
| | 04:04 |
settings as before.
That's not what I want, so I'll modify
| | 04:07 |
those settings shortly, but it's also
applying all those settings outside of my vignette.
| | 04:13 |
I want them to be inside, so I'll scroll
down the list to the bottom here and
| | 04:16 |
notice Effect is set to Outside.
If I switch it to Inside, watch this dot
| | 04:21 |
right here that's now appearing red.
As soon as I switch to inside, it changes
| | 04:25 |
to green.
So, the color of these little dots here
| | 04:28 |
does matter.
Now, I'll modify my settings a little bit
| | 04:32 |
here by scrolling back up to the top of
the list, and I'll change the Temperature
| | 04:35 |
value to negative 30.
Then I'll set the Tint to 0, and I'll set
| | 04:40 |
the Exposure and the Contrast to 0 as
well.
| | 04:44 |
A Highlights value of negative 30 is
fine, I'm going to take the shadows up to
| | 04:47 |
plus 30.
I'll reduce the clarity in my case to
| | 04:50 |
plus 50, and 'll take the Saturation
value up to plus 10 in order to produce
| | 04:54 |
this effect right there.
Now you can also apply Sharpness and
| | 05:00 |
Noise Reduction if you like, in my case,
I'm not going to.
| | 05:03 |
I do want you to notice this Feather
value down here at the bottom of the list.
| | 05:06 |
It's up to it's maximum, 100, by default.
But, you can reduce it if you'd like in
| | 05:11 |
order to create a harder edge transition,
as we're seeing here.
| | 05:15 |
So, at a feather value of 0, you get a
very hard transition indeed.
| | 05:20 |
That's not what I want, but I just want
you to see you have that kind of control.
| | 05:23 |
I'm going to go ahead and take that
value, back up, to 100%, in order to
| | 05:27 |
create the softest possible transition.
And that's it, now I've got two vignettes
| | 05:32 |
working together, one that modifies the
area outside the model's face, and
| | 05:35 |
another that affects the area inside her
face.
| | 05:40 |
And so now I'll go ahead and click the OK
button in order to apply my modifications
| | 05:45 |
as a Dynamic Smart Filter.
We'll go ahead and press the F key a
| | 05:49 |
couple of times in order to switch to the
Full Screen mode.
| | 05:52 |
So if press Ctrl+Z, or Cmd+Z on the Mac,
you can see this is the original flat
| | 05:55 |
version of the image.
And this is the tricked out version,
| | 05:59 |
thanks to a combination of two custom
vignettes, working together, created
| | 06:04 |
using the new Radial Filter tool inside
Camera Raw.
| | 06:08 |
| | Collapse this transcript |
|
|
3. Design and Web UpdatesShape properties and independent round corners| 00:00 |
If you spend with vector based shape
layers.
| | 00:03 |
Then you're going to love this next
feature.
| | 00:04 |
It goes by the name live shapes, and the
idea is you can make dynamic
| | 00:08 |
modifications to certain kinds of shape
layers inside Photoshop.
| | 00:13 |
For now, the practical upshot is that you
can change the corner radius of a
| | 00:17 |
rectangle on a corner by corner basis
which is why this down right corner's
| | 00:21 |
quite rounded.
This down left corner's a little less
| | 00:25 |
round and then we have all kinds of
different roundness settings going on
| | 00:28 |
across the top of the shape.
I'll go ahead and switch over to the
| | 00:33 |
starter document here.
I'll select the Rectangle tool, near the
| | 00:37 |
bottom of the tool box.
Now just because I happen to know how big
| | 00:41 |
I want this first rectangle to be, I'll
go ahead and click inside the image
| | 00:45 |
window, near the top left region.
And I'll dial in these values 2430
| | 00:50 |
pixels, for the width, and then 1600
pixels for the height.
| | 00:56 |
You want to make sure from center's
turned off, an then click OK, in order to
| | 00:59 |
create this shape here.
Now notice that the properties panel
| | 01:03 |
immediately leaps up onscreen and it
shows you all of these options right
| | 01:07 |
here, including these corner radius
settings.
| | 01:11 |
An we'll come back to those in just a
minute.
| | 01:14 |
If you can't see those options, by the
way, it's because your Properties panel's
| | 01:17 |
too short.
You just need to drag down on this little
| | 01:20 |
handle there.
I'm going to hide the Properties panel
| | 01:24 |
for now.
As I say, we'll come back to it.
| | 01:26 |
And, I want to align this rectangle to
the canvas.
| | 01:29 |
So I'll click on the Path Alignment icon
up here on the Options bar, and I'll
| | 01:33 |
choose, align the canvas.
And then, I'll go ahead and choose these
| | 01:37 |
options, Horizontal Centers.
And then you want to choose Vertical
| | 01:41 |
Centers from that same menu.
Now the rectangle's a little too high, so
| | 01:45 |
I'm going to switch to the black arrow
tool, which Photoshop called the Path
| | 01:49 |
Selection tool.
Notice it has a keyboard shortcut of A,
| | 01:53 |
for arrow.
I'll go ahead and select it, and then
| | 01:56 |
I'll press Shift Down Arrow, three times
in a row, so one two three, in order to
| | 02:00 |
scoot that rectangle down 30 pixels.
Now we want to bring back the Properties
| | 02:06 |
panel, so I'll go up to the Window menu
and choose Properties.
| | 02:09 |
And because this is a live shape, i.e, a
rectangle, we can access these options
| | 02:14 |
from the Properties panel.
If we were working with some other shape,
| | 02:18 |
like a polygon, or a custom shape.
You would continue to access these
| | 02:23 |
settings up here in the Options bar.
I'm going to change the fill, for starters.
| | 02:28 |
This very first swatch to none, because I
don't want a fill.
| | 02:31 |
And then I'm going to change this second
swatch right there to a shade of red.
| | 02:36 |
And I'll dial in the red by bringing up
the color picker.
| | 02:39 |
Which you do by clicking on this top
right icon.
| | 02:42 |
And these are the settings I'm looking
for.
| | 02:44 |
A hue of 0 degrees.
A saturation of 100%.
| | 02:48 |
And a brightness of 70%.
Now click OK.
| | 02:51 |
Next I want to change the line weight to
six points.
| | 02:56 |
And then finally, I want to nudge the
stroke outwards, so I'll go ahead and
| | 02:59 |
click on this first menu icon there.
And select the final option in order to
| | 03:04 |
move the stroke outside of the shape like
so.
| | 03:08 |
Now we want to change the radius of the
corners.
| | 03:10 |
By default, this little chain icon will
be turned on.
| | 03:14 |
And that means, if you change any one of
these values, for example I'll dial in
| | 03:17 |
100 pixels, for that first value, then
you're going to change the roundness of
| | 03:21 |
every single one of the corners.
That's not what I'm looking for, so I'll
| | 03:26 |
go ahead and turn the chain off.
And I'll reset this first value to zero pixels.
| | 03:30 |
Tab over to the second one, change it to
zero pixels as well.
| | 03:34 |
And then tab a couple of times to the
final value for the bottom right corner.
| | 03:38 |
And I'll change it to 300 pixels and
press the Enter key, or the Return key on
| | 03:41 |
a Mac, in order to accept that change.
Something I want you to notice here is
| | 03:47 |
that Photoshop goes ahead and
automatically adds anchor points.
| | 03:51 |
And you can modify those anchor points as
well, if you like.
| | 03:55 |
By switching from the Path Selection tool
to the Direct Selection tool, aka the
| | 03:59 |
White Arrow tool.
An then I would go ahead an marquee this
| | 04:03 |
anchor point for example, and drag it to
a different location.
| | 04:08 |
However, as soon as I release I'm
going to get an error message, that's
| | 04:11 |
telling me that Photoshop is going to
turn this live shape into a regular path.
| | 04:15 |
If I click Yes, watch what happens inside
the Properties panel.
| | 04:19 |
All those options go away, an I have now
just a plain everyday average, static
| | 04:24 |
path outline.
I don't want that, so all I need to do is
| | 04:28 |
press Ctrl+Z, or Cmd+Z on a Mac, in order
to reinstate my live rectangle.
| | 04:35 |
Let's go ahead an add the sculpting
across the top of the shape now, an I'll
| | 04:38 |
do that by switching from the Rectangle
tool, to the Rounded Rectangle tool.
| | 04:43 |
Which as it so happens works in very much
the same way.
| | 04:46 |
Now I want to add this rounded rectangle
to the existing one.
| | 04:49 |
So I'll go up to the options bar, click
on this icon, the one that's called path
| | 04:53 |
operations, and I'll choose combine
shapes in order to add the shapes together.
| | 04:59 |
And then I'll drag inward.
You want to be a little bit to the right
| | 05:03 |
of the left edge of this big rectangle.
And go ahead and drag like so, in order
| | 05:07 |
to create a shape about this big.
now I'm going to dial in exactly the
| | 05:12 |
settings I'm looking for here, inside the
properties panel.
| | 05:15 |
I'll change the width to 300 pixels.
I'll change the height to 140 pixels.
| | 05:20 |
And then I'll tab down to the Y value and
change it to 100 pixels in order to
| | 05:24 |
produce this effect here.
Now I need to align these two shapes.
| | 05:28 |
I'll switch back to my Black Arrow tool,
the Path Selection tool.
| | 05:32 |
And I'll shift-click on this big
rectangle here.
| | 05:36 |
And then I'll go up to the Path Alignment
option.
| | 05:39 |
I'll switch it back to Align To
Selection.
| | 05:41 |
And then, you want to choose left edges.
And because the big rectangle is farther
| | 05:47 |
to the left, it's going to remain in
place and the smaller rectangle is going
| | 05:50 |
to move as soon as I choose that command.
Now I want to duplicate this tab up here
| | 05:55 |
a few times.
So, I'm going to shift-click in a large
| | 05:58 |
rectangle to deselect it, and before I
duplicate it, I want to change it's
| | 06:02 |
corner settings.
So, if I turn on the link icon, and
| | 06:05 |
change any one of these guys to 0 pixels,
then all of them are going to change to 0 pixels.
| | 06:10 |
And I've changed my rounded rectangle,
that I drew with the rounded rectangle
| | 06:14 |
tool, to, a standard, every day average
hard-cornered rectangle.
| | 06:18 |
Which is not something we've ever been
able to do inside Photoshop before.
| | 06:23 |
Now I want to change the very first value
here to 20 pixels but if I do, because
| | 06:26 |
they're linked together, all the values
will change.
| | 06:29 |
We'II notice that you have the ability to
just enter manual values in this little
| | 06:32 |
strip here.
So I'm going to click at the beginning of
| | 06:35 |
it, I'm going to change the first value
to 20 pixels.
| | 06:38 |
And then press the Enter key or the
Return key on a Mac and that changes just
| | 06:41 |
that one value, even though theoretically
they're all linked together.
| | 06:46 |
Now I'll hide the Properties panel.
We need to make some duplicates here.
| | 06:49 |
And the easiest way to do that is to
enter the Free Transform mode from the keyboard.
| | 06:55 |
You've gotta do it via a keystroke.
And that keystroke is Ctrl+Alt +T, or
| | 07:00 |
Cmd+Option+T on a Mac.
And then, once you've done that, you just
| | 07:05 |
go ahead and drag the rectangle over
while pressing the Shift key.
| | 07:08 |
So that you're constraining the drag to a
horizontal one, and drop it right about here.
| | 07:13 |
And then, go ahead and press the Enter
key, or the Return key on a Mac, to exit
| | 07:16 |
the Transform Mode.
And now we need to duplicate it four more
| | 07:21 |
times by pressing Ctrl-shift+Alt+T here
on a PC or Cmd- shift+Option+T on a Mac.
| | 07:27 |
And as I say, you need to do it four
times in all so that we have a total of
| | 07:30 |
six rectangles across the top.
Now I want to distribute them properly,
| | 07:36 |
so I'll shift-click on the large
rectangle to select it.
| | 07:39 |
And I'll go up to the align icon and
choose right edges, in order to align
| | 07:43 |
that rectangle in to place.
And then I'll just go ahead and just
| | 07:48 |
marquee across the top of the image, here
to select just the top rectangles.
| | 07:53 |
I don't want to select the big rectangle
down below, and then I'll return to that
| | 07:57 |
Align icon, click on it, and choose
Distribute Widths, in order to produce
| | 08:01 |
this effect, here.
The great thing, by the way, about
| | 08:05 |
working with path outlines this way, I
want you to see something.
| | 08:09 |
If I were to, let's say click on the big
path outline, and then shift-click to
| | 08:12 |
deselect it.
And then, I'll switch back to the
| | 08:16 |
rectangular marquis tool, and I'll go
ahead and bring up the Properties panel,
| | 08:19 |
once again.
Notice that I'm not seeing any of my live
| | 08:24 |
shape options.
And that's because Photoshop, at this
| | 08:27 |
point, is not really recognizing it is a
live shape.
| | 08:30 |
Because no single one of the live shapes
is selected.
| | 08:33 |
Whereas if I switch back to my Black
Arrow tool and I click on any one of
| | 08:37 |
these path outlines, then I'm going to
see those properties.
| | 08:41 |
And I'm even going to see them when I
switch back to another tool, such as the
| | 08:45 |
rectangular Marquee tool.
Because in Photoshop's mind, that path is
| | 08:49 |
still selected even though you're not
seeing it on screen.
| | 08:53 |
And I'm going to switch back to the black
arrow tool, and I'm going to marquee
| | 08:56 |
these top path outlines once again.
You'll note that I do not have the larger
| | 09:01 |
rectangle selected.
The great news here is, everything is
| | 09:05 |
absolutely dynamic.
So if I decide, you know what, this value
| | 09:07 |
right there it needs to be 40 pixels, and
because I've got the links still turned
| | 09:11 |
on, I'll just go ahead and change it like
so.
| | 09:14 |
I'll change the two to a four, and press
the Enter key or the Return key on a Mac
| | 09:18 |
and that updates all of those selected
rectangles across the top of the screen.
| | 09:24 |
Now I'm going to hide the Properties
panel.
| | 09:27 |
Just a few last adjustments I want to
make in order to finish out the artwork.
| | 09:31 |
I'm going to go ahead and shift-click on
the text layer, so that the text layer
| | 09:35 |
dots and rectangle are all selected.
And then, I'll go up to the Layers panel
| | 09:40 |
fly-up menu and I'll choose new group
from layers.
| | 09:44 |
And I'll go ahead and call this group
Shared Fx.
| | 09:47 |
And then I'll click OK.
And now let's wirl a group open and I
| | 09:51 |
want to take these effects that are
assigned to the dots right there.
| | 09:55 |
The bevel and boss stroke effects, and I
want to assign them to all of the layers here.
| | 10:00 |
But first I'm going to go ahead and
change the color of the text.
| | 10:04 |
And you can see up here in the Color
panel that I've got my HSV values available.
| | 10:08 |
You could bring those up by choosing HSV
Sliders from the fly out menu.
| | 10:12 |
And I've already got a hue value of zero.
I'm going to change the saturation value
| | 10:16 |
to 100, and the brightness value to 70.
And then I'll press Alt+Backspace, or
| | 10:21 |
Option+Delete on the Mac, to make the
text red.
| | 10:24 |
And now I'll grab these effects right
there and I'll just drag them and drop
| | 10:28 |
them onto the group, so that I'm
affecting all of the layers inside the group.
| | 10:33 |
And then, I'm going to click on that
group and I'm going to change it's blend
| | 10:37 |
mode from Pass-through to Color Burn in
order to apply Color Burn to all of those layers.
| | 10:43 |
Now that looks pretty darn good, but I
want to make a small modification here.
| | 10:46 |
I'm going to double-click on Bevel and
Emboss.
| | 10:49 |
I'm going to change the style from inner
bevel to palombas and I'll change the
| | 10:54 |
technique from smooth to chisel hard.
And then finally I'll set the direction
| | 11:00 |
to down in order to create this final
effect.
| | 11:03 |
And now, I'll click the OK button, in
order to accept my change.
| | 11:09 |
And that, in a nutshell, is how you take
full advantage of Live shapes complete
| | 11:13 |
with Dynamic Corner Radius values on a
corner by corner basis here inside Photoshop.
| | 11:21 |
| | Collapse this transcript |
| Other shape and path enhancements| 00:00 |
In this movie, I'll walk you through a
few shape and path enhancements in Photoshop.
| | 00:05 |
Specifically I'll show you how you can
move an anchor point on the fly while
| | 00:08 |
drawing it with the Pen tool.
We also have a couple of new keyboard
| | 00:13 |
shortcuts for the intersect and exclude
modes, and finally I'll show you how you
| | 00:17 |
can select multiple path outlines across
multiple layers using the arrow tool.
| | 00:24 |
I'm going to start things off by pressing
the control and space bar keys, or
| | 00:27 |
command and space bar on a Mac, and I'm
going to zoom in on his bright red nose
| | 00:30 |
here, which is red just so that we can
tell it apart easily from the other
| | 00:33 |
features of the monster's face.
And currently as you can see, I've got a
| | 00:41 |
couple of ellipses on a single layer.
And so we get this kind of pig nose
| | 00:45 |
effect but what I want to do is round off
the bottom of the nose right there.
| | 00:50 |
And I'm going to do so using the pen
tool.
| | 00:53 |
I'll start off by figuring out what layer
this is.
| | 00:56 |
I'll do that by selecting the Move tool
from the top of the Toolbox and then I'll
| | 01:00 |
Right Click in some area of red there.
In which case I'll see a list of layers
| | 01:05 |
that appear at that right click location.
And then I'll choose Nose Edges, which is
| | 01:10 |
the layer that I'm looking for.
Now I'm going to switch to the Pen tool,
| | 01:14 |
which you can get by pressing the P key,
at which point you should see the
| | 01:17 |
outlines of both of the ellipses.
By default, you should see the word Path
| | 01:23 |
on the far left side of the Options bar,
and then the Path operations icon should
| | 01:27 |
be set to Combine Shapes, which is
exactly what we want.
| | 01:32 |
Now, I'll go ahead and start dragging
right about here, let's say.
| | 01:36 |
And I was a little careless, so I didn't
exactly hit the ellipse there.
| | 01:40 |
Now prior to creative cloud, what I'd
have to do is release my mouse button and
| | 01:44 |
then Control or Command drag that anchor
point to a better location.
| | 01:48 |
Nowadays, what you can do as long as you
still have the mouse button down, you can
| | 01:52 |
press and hold the spacebar in order to
move that anchor point to a more
| | 01:55 |
desirable location like that.
And then I'll go ahead and release the
| | 02:01 |
spacebar and continue dragging to adjust
my control handles.
| | 02:05 |
Now I'll do the same thing over there,
I'll go ahead and drag, like so, and
| | 02:08 |
anchor point's not in the right position,
so I'll press and hold the spacebar,
| | 02:12 |
until I get it aligned with the nostril,
like that.
| | 02:17 |
And then I'll go ahead and release the
spacebar to continue, modifying the
| | 02:20 |
control handles.
Now I'll click, let's say, right about
| | 02:23 |
here, in order to create a corner point,
just so that we're creating a path that
| | 02:27 |
goes all the way into the ellipses.
And then I'll click this location and it
| | 02:33 |
dawns on me that I've got a little sliver
left open, a tiny triangle at the
| | 02:36 |
location where to the 2 ellipses meet.
So I've got to move this corner point up.
| | 02:42 |
While I still have my mouse button down,
I'm not dragging, I just have it down, so
| | 02:45 |
I can press and hold the spacebar and
then move this corner point upward like so.
| | 02:50 |
Just be sure, if you're going to work
this way, to release the mouse button
| | 02:53 |
before you release the space bar so that
you don't accidentally drag out any
| | 02:56 |
control handles.
And then finally, I'll close the path
| | 03:01 |
outline just by clicking and holding for
a moment on this first anchor point.
| | 03:06 |
Notice that, that leaves my control
handles intact but as long as I've still
| | 03:10 |
got the mouse button down, and I don't
start dragging then I can press and hold
| | 03:14 |
the spacebar key and then drag around in
order to move that anchor point to yet
| | 03:18 |
another position.
Then, again, if you don't want to modify
| | 03:23 |
your existing control handles just make
sure to release your mouse button before
| | 03:27 |
you release the spacebar and you'll end
up with this effect here.
| | 03:31 |
I'm going to go ahead and switch to my
Black Arrow tool, which I can get by
| | 03:35 |
pressing the A key.
And now notice that I can change the path
| | 03:40 |
operation up here in the Options bar from
Combine Shapes, which adds all the shapes
| | 03:44 |
together, to either Subtract, Intersect
or Exclude.
| | 03:48 |
All of which now have a keyboard
shortcut.
| | 03:51 |
We've already had a keyboard shortcut of
minus.
| | 03:54 |
If you press the - key, then you're
going to subtract the selected path
| | 03:57 |
outline from the other outlines on this
layer.
| | 04:00 |
And that's worked for a while now.
But nowadays, you can also press the /
| | 04:05 |
key, either on the numerical keypad or on
the keyboard, in order to switch to the
| | 04:10 |
Intersect mode.
So we're just filling the area.
| | 04:15 |
At which the various path outlines
intersect.
| | 04:18 |
And then, if you press the * key,
exclusively on the keypad, by the way.
| | 04:21 |
You can't press Shift+8.
Then you'll switch to the Exclude mode,
| | 04:28 |
which goes ahead and fills just those
areas that don't overlap the selected path.
| | 04:34 |
What I want is to combine them all,
however.
| | 04:36 |
So I'll just go ahead and press the Plus
Key in order to make that so.
| | 04:40 |
And then I'm going to change the Fill
Value here from 100% to zero, which you
| | 04:45 |
can do by pressing Shift-zero-zero.
And then I'll also go ahead and turn on
| | 04:51 |
this layer mask that I've created in
advance, by shift clicking on the
| | 04:54 |
thumbnail that previously had an x
through it.
| | 04:58 |
And now go ahead and twirl this group
close, so that I can take a look at the
| | 05:03 |
final effect.
Now, I'm going to press Ctrl+0, or Cmd+0
| | 05:07 |
on the Mac, to zoom out.
And finally we've got a problem with this eye.
| | 05:12 |
The monster has apparently dropped it.
I'll show you other scenarios in another movie.
| | 05:17 |
It does demonstrate that we've got a
problem, because I've got this group
| | 05:21 |
called eyes, right here, which contains
all the eye elements.
| | 05:26 |
So if I were to select the eyes group and
then press the V key to switch to my Move
| | 05:30 |
tool And then start dragging that eye
around.
| | 05:34 |
I'm going to move the other eye along
with it.
| | 05:36 |
Which I definitely don't want to do.
Even if I were to do a search here in the
| | 05:40 |
layers panel.
Go ahead and switch to name, and then
| | 05:44 |
search for eye.
We've got a lot of eye layers going on,
| | 05:47 |
including eyelids L, which are the left
eyelids.
| | 05:51 |
If I turn it off you can see that they
disappear.
| | 05:53 |
But then I've got this layer called eyes
right there and if I turn it off, you can
| | 05:57 |
see that layer contains both of the eyes.
But we also have some pupil and highlight
| | 06:02 |
elements that we're not seeing because
they don't have the word eye associated
| | 06:06 |
with them.
So we cannot just start dragging layers
| | 06:09 |
around, that's just not going to work for
us, so I'll go ahead and turn that eyes
| | 06:12 |
layer back on.
And switch the name back to Kind so that
| | 06:16 |
we can see all the layers.
Instead, what I can now do is switch to
| | 06:20 |
my Black Arrow tool and then, because
these are all shape layers, they have to
| | 06:24 |
be shape layers for this to work, I can
go ahead and marquee around the eye in
| | 06:28 |
order to select all of the layers that
have to do with that specific shape
| | 06:32 |
without, And notice this, I'm not
selecting the shapes associated with
| | 06:35 |
those same layers.
I'm just getting the left eye and none of
| | 06:44 |
the right eye.
Now I can just go ahead and drag this eye
| | 06:48 |
up to this location, for example, and I
need to rotate it as well.
| | 06:53 |
I'll go up to the edit menu and choose
free transform path and press control T
| | 06:57 |
Or Command T on the Mac.
And I'll drag outside of the
| | 07:00 |
transformation boundary like so, to
rotate these shapes.
| | 07:04 |
And I'll press the shift key to constrain
the angle, ultimately, to 90 degrees.
| | 07:09 |
And then I'll just go ahead and scoot
this guy up from the keyboard, using the
| | 07:13 |
arrow keys combined with the Shift key as
well.
| | 07:17 |
Until I get the eye right about there.
And then I'll press the Enter key, or the
| | 07:21 |
Return key on a Mac in order to accept
that change.
| | 07:24 |
Then just click off the eye in order to
deselect it.
| | 07:28 |
When all's said and done, three new
techniques available to us, a new Pen
| | 07:32 |
tool technique, couple of new keyboard
shortcuts and a new way to select
| | 07:36 |
multiple path outlines across multiple
layers inside Photoshop.
| | 07:42 |
| | Collapse this transcript |
| Isolating and releasing layers| 00:00 |
Now, while you may initially revel in the
fact that Photoshop allows you to select
| | 00:04 |
multiple shapes across multiple layers.
You're going to find it very frustrating
| | 00:08 |
as well, especially when working inside
complex documents because there are no
| | 00:12 |
limitations anymore when working with the
arrow tools, which is why Photoshop also
| | 00:17 |
includes a Layer Isolation Mode.
So that you can constrain your modifications.
| | 00:24 |
I'm going to go ahead and zoom in on this
detail right here, this hand.
| | 00:30 |
What I want to do here.
Notice that the bottom of his two hands
| | 00:33 |
doesn't match its shadow.
It needs to come down a little bit.
| | 00:37 |
So I'll go ahead and switch from the
black arrow tool to the white arrow tool,
| | 00:40 |
which Photoshop calls the Direct
Selection Tool.
| | 00:44 |
And then I'll marquee this bottom hand
like so and that ends up selecting all
| | 00:49 |
kinds of path outlines across the various
layers.
| | 00:53 |
Obviously this is not what I want.
I'm going to go ahead and switch back to
| | 00:58 |
the path selection tool, click off the
path to deselect them.
| | 01:02 |
And marquee for example this elbow here
if you're working along with me just to
| | 01:06 |
go ahead and select that arm and then I
want you to notice the Layers Panel it's
| | 01:10 |
showing us every single layer inside of
the document.
| | 01:15 |
But if I double-click on that path
outline and I see just that one and only
| | 01:20 |
one layer isolated from the others.
So now I can go ahead an switch back to
| | 01:27 |
the white arrow tool, an the easiest way
to do that is to just press Shift+a.
| | 01:32 |
An then I'll marquee the hand like so in
order to select its various anchor points.
| | 01:37 |
And I'll Shift click on this point on the
elbow as well to select it.
| | 01:42 |
You don't want to select this anchor
point or either of these two.
| | 01:46 |
Then, go on to the Edit menu and choose
Free Transform Points, or you can press
| | 01:50 |
Ctrl+t or Cmd+t on a Mac.
And I'll go ahead and grab that target
| | 01:54 |
right there, which represents the center
of the rotation that I'll be applying.
| | 01:59 |
And I'll drag it until it's aligned with
that deselected anchor point right there.
| | 02:04 |
At the curve in the elbow.
And now I'll drag outside the
| | 02:07 |
transformation boundary, in order to
rotate that hand into a better location.
| | 02:13 |
And then I'll press the Enter key here on
a PC, or the Return key on a Mac in order
| | 02:17 |
to apply that change.
Once you're done, so long as you're
| | 02:22 |
working with one of the Arrow Tools, you
can exit the isolation mode just by
| | 02:25 |
double clicking in an empty portion of
your composition.
| | 02:30 |
And then you'll see that all of those
layers come back.
| | 02:34 |
Now lets say I have a problem with this
tooth, which I do.
| | 02:37 |
You can see, that it's hanging down into
the mouth there.
| | 02:41 |
And this guy's a little tougher to get
to, because if I try to click directly on
| | 02:44 |
it, I end up getting one of the path
outlines sets in front of it, in fact I
| | 02:47 |
go ahead and get, upper lip, as you can
see right there.
| | 02:52 |
So I've got to figure out exactly where
that tooth is.
| | 02:56 |
And in this case, the best tool for that
purpose is the Move tool.
| | 02:59 |
So, I'll go ahead and select a Move tool
from the top of the Toolbox and then I'll
| | 03:03 |
right click anywhere on that tooth and
I'll see a list of layers that appear at
| | 03:06 |
that right click location an one of them
fortunately is actually called tooth.
| | 03:13 |
So I'll go ahead and select it in order
to make it active and there's my tooth
| | 03:17 |
layer right there.
Now, you need to isolate this layer from
| | 03:20 |
the rest of the composition.
I can't double-click on it with a Move
| | 03:23 |
tool because that doesn't actually take
me to the Isolation Mode and I can't
| | 03:27 |
double-click on it with one of the Arrow
Tools because it's covered up by that
| | 03:30 |
other layer.
What you do instead is you go up to the
| | 03:36 |
Select menu and you choose this new
command Isolate Layers.
| | 03:40 |
And that'll go ahead and isolate which
ever layers are active, my case just the one.
| | 03:45 |
And now I'll press the a key to get back
to the last Arrow Tool used which is my
| | 03:48 |
Wide Arrow tool.
And I'll go ahead and click on this point.
| | 03:54 |
I want to select it so I'll just go ahead
and marquee the anchor point.
| | 03:57 |
Need to be careful about my marquee so I
don't want to marqueeing the upper lip.
| | 04:02 |
Which is also part of this layer and then
I'll drag it up like so, so that we no
| | 04:06 |
longer have a gap at the top of the tooth
and then, when I finish, because I'm
| | 04:10 |
still armed with an Arrow tool, I'll
double-click outside the tooth in order
| | 04:14 |
to escape the Isolation Mode.
Next we've got this eye over here on the
| | 04:22 |
left hand side that's in the wrong
location.
| | 04:25 |
And you can see why I had it on the
ground, in the previous movie.
| | 04:28 |
Because otherwise you would have had a
very, very difficult time selecting it.
| | 04:32 |
And so I'm going to press Shift+a to
switch back to my black arrow tool and
| | 04:35 |
I'll go ahead and try to marquee the eye
and you can see I get just a ton of stuff
| | 04:40 |
selected this time.
On all kinds of groups.
| | 04:46 |
Throughout the illustration, that's not
what I want at all.
| | 04:48 |
So I'm going to click somewhere off the
paths and deselect them.
| | 04:52 |
And then I've got a lot of groups that
are expanded right now as you can see if
| | 04:55 |
you scroll up and down the list in the
Layers Panel.
| | 04:58 |
I'm going to go ahead and collapse all of
them by clicking Ctrl or Cmd, clicking on
| | 05:02 |
the map, on the arrow in front of any of
the expanded groups like so.
| | 05:08 |
And then I'll go to my eyes group.
And so the great thing about this eyes
| | 05:12 |
group is it does contain both of the
eyes.
| | 05:15 |
I can confirm that by turning the eyeball
for the eyes group off.
| | 05:19 |
And then, of course, back on.
And so what I want to do is isolate that group.
| | 05:24 |
And you do that as follows.
First of all, you have to expand the
| | 05:27 |
group first.
So this one group needs to be expanded.
| | 05:31 |
The other ones can be expanded too, but
the group that you're going to isolate
| | 05:34 |
has to be all the way open and any other
sub groups like this eye bags group right
| | 05:38 |
there, needs to be expanded as well if
you hope to get to its layers.
| | 05:44 |
Then, go ahead and select that group and
you can either go up to the Select
| | 05:48 |
Menu>Isolate Layers or you can
right-click inside the Image Window, with
| | 05:52 |
either the Move Tool or one of the Arrow
Tools.
| | 05:57 |
And you'll see this option right there,
isolate layers.
| | 06:01 |
And you can go ahead and isolate them
like so.
| | 06:03 |
And the reason that it's so important
that you expand the group is because
| | 06:07 |
notice, if I collapse this group now, it
doesn't have any effect.
| | 06:11 |
And it wouldn't have any effect if you
tried expand it at this point either,
| | 06:15 |
because what's happening is Photoshop is
filtering the layers and when it does
| | 06:18 |
that, it goes ahead and shows the groups
and layers independently of each other.
| | 06:24 |
Just the way it works.
Now I'm going to go ahead and marque this
| | 06:28 |
eye like so.
Just to grab it independently of the rest
| | 06:31 |
of my composition.
And I'll go ahead and drag it over to the right.
| | 06:36 |
Now another thing to note, and I know
there's a lot going on here.
| | 06:39 |
But imagine for a second that you're
thinking you might want to adjust the
| | 06:42 |
position of this right eye as well.
Well, notice when I marquee those
| | 06:46 |
elements there, that I don't select this
little layer mask that's associated with
| | 06:51 |
the eye bags.
An it wouldn't do me any good to try to
| | 06:55 |
select it because when you drag path
outlines around with the arrow tools, you
| | 06:58 |
don't drag the masks, you don't drag any
of the pixel data associated with the layers.
| | 07:05 |
So, in my case I've made a mess of
things.
| | 07:08 |
So I'll go ahead and press Ctrl+Z or
Cmd+Z on a Mac to undo that change.
| | 07:12 |
Let's say I just want to make sure that
while I'm working in the Isolation Mode,
| | 07:15 |
I don't ruin the eye bags there.
I'll go ahead and click on the eye bags
| | 07:19 |
group and Shift click, on bag one.
So you need to select the contents of the
| | 07:23 |
group as well, like so.
And then you can right click on any of
| | 07:27 |
these selected items, here inside the
Layers Panel and choose Release From Isolation.
| | 07:33 |
That doesn't take you out of the
isolation mode.
| | 07:36 |
That just goes ahead and takes the eye
bags out of the Isolation Mode so that
| | 07:39 |
they are effectively off limits.
And now notice if I go ahead and marquee
| | 07:44 |
this right eye.
And I drag it to a different location,
| | 07:48 |
the eye bags remain behind.
I'll go ahead and press Ctrl+z or Cmd+z
| | 07:53 |
on the Mac to undo that change, and then
I'll click off the path outline.
| | 07:57 |
Double click with the black Arrow Tool
anywhere inside the image in order to
| | 08:00 |
escape the Isolation Mode.
One final thing here.
| | 08:03 |
I'm going to go ahead and zoom out by
pressing Ctrl+0 or Cmdd+0 on the Mac.
| | 08:07 |
I've got this text layer at the top of
the stack.
| | 08:10 |
Let's say I want to add some more text to
it in the isolation mode.
| | 08:14 |
So, I go ahead and click on this layer in
order to select it and then right click
| | 08:18 |
with my black arrow tool or the move
tool, either works and choose isolate layers.
| | 08:24 |
And now that one text layer is isolated.
Now, press the t key to switch to my Type tool.
| | 08:30 |
And I'll click right about there and I'll
press Ctrl+v or Cmd+v to paste some text
| | 08:34 |
that I've created in advance.
Then I'll just press the Enter key on the
| | 08:40 |
numerical keypad to accept that change
and notice I have now added another layer
| | 08:43 |
inside of the isolation mode, so you can
create and isolate as many layers as you want.
| | 08:50 |
Then I can take this down, just drag it
down directly below, the preexisting text layer.
| | 08:55 |
And now, I can't right click with my Type
tool to leave the Isolation Mode, so I'll
| | 08:59 |
just go up to the Select Menu> Isolate
Layers in order to turn the command off
| | 09:03 |
and you can now see that my two text
layers are listed right in a row here
| | 09:07 |
inside the layers panel along with all
the other layers and layer groups Inside
| | 09:11 |
the document.
And that's how, and why, you isolate
| | 09:20 |
layers, inside Photoshop.
| | 09:23 |
| | Collapse this transcript |
| Copying CSS code from specialty layers| 00:00 |
If you're a web designer, you've probably
been using Photoshop to mock up your
| | 00:04 |
designs forever.
Nowadays, though, you can also have
| | 00:08 |
Photoshop generate the code, using a
command called copy CSS.
| | 00:14 |
And it's applicable to vector based shape
layers, type layers, image layers, and,
| | 00:18 |
entire groups as well.
So for example, I could right-click on
| | 00:23 |
this content group, here inside the
Layers panel, an choose copy CSS.
| | 00:28 |
In which case, it's going to take a few
moments to copy all that information,
| | 00:32 |
because it's copying the styles
associated with all the shape layers, all
| | 00:35 |
the text layers, and the pixel based
image layers as well.
| | 00:40 |
An if you've got a pixel based image,
such as roboto here, then Photoshop will
| | 00:45 |
automatically create a link to a file, in
this case called roboto.png.
| | 00:51 |
It always goes for a png image found in
an images sub-folder.
| | 00:56 |
So you can attempt to generate an entire
style sheet based on a group if you like.
| | 01:01 |
But what I'm going to try to do is paint
a more realistic picture of what you
| | 01:04 |
might actually like to accomplish.
Because Photoshop isn't probably going to
| | 01:09 |
generate the positioning code that you're
looking for.
| | 01:13 |
So for starters we've got this design
here, that I'm looking at in chrome.
| | 01:17 |
And this comes to us from my buddy Justin
Seeley who does a course called Photoshop
| | 01:21 |
for web design, here at lynda.com.
We need to update the buy now button and
| | 01:27 |
the header as well, both of which
contains gradients.
| | 01:32 |
So I'm going to switch back over to
Photoshop, and I'll grab my Move tool,
| | 01:35 |
which I can get by pressing the V key.
And I'll right-click inside this
| | 01:39 |
gradient, just so that I can try to find
it, and it's right there, header bar.
| | 01:43 |
So I'll go ahead and select it.
And you can see header bar listed right
| | 01:47 |
here in the Layers panel.
Before you copy the CSS, I want you to
| | 01:51 |
check one thing.
Press Ctrl+K, or Cmd+K on a Mac, to bring
| | 01:56 |
up the Preferences Dialogue box.
And make sure that the Export Clipboard
| | 02:00 |
checkbox, which I usually recommend that
you turn off.
| | 02:04 |
Go ahead and make sure that checkbox is
turned on, and then click OK.
| | 02:09 |
Now, right-click on an empty portion of
the header bar layer because my screen is
| | 02:13 |
so small.
This pop up menu comes up in two columns,
| | 02:16 |
and then you want to choose, from very
close to the top, Copy CSS, and that'll
| | 02:20 |
go ahead and copy that code.
Now I'm going to switch over to
| | 02:25 |
Dreamweaver, where I have that index.hmtl
document open.
| | 02:30 |
And notice that if refers to a style
sheet called styles.css.
| | 02:35 |
Which is open as well, I just need to go
ahead and switch to it.
| | 02:38 |
And this is where all this CSS code is
located for this particular document.
| | 02:42 |
I'm going to ahead and scroll down the
list here until I find this item called
| | 02:46 |
header and I'm just going to click after
it.
| | 02:49 |
Right before footer and I'll press Ctrl+V
or Cmd+V on a Mac in order to paste.
| | 02:55 |
And basically, what Photoshop has done
for me is create a new style called
| | 02:59 |
header bar named after the layer on which
I right-clicked.
| | 03:04 |
But notice in addition to this background
information which is very helpful, so
| | 03:08 |
we've got a gradient definition for older
versions of Firefox.
| | 03:13 |
We've got a gradient definition for
Chrome and for Safari and so forth.
| | 03:17 |
And then we've got a gradient definition
for just a few preliminary versions of
| | 03:21 |
Internet Explorer.
But in any case, this way, things are as
| | 03:25 |
compatible as possible.
We don't need any of this positioning
| | 03:29 |
info right here.
So what I'm going to do is I'm just
| | 03:32 |
going to take this background image
information.
| | 03:35 |
And after selecting it, I'll press
Ctrl+C, or Cmd+C on the Mac, to copy it.
| | 03:39 |
And then I'll go ahead and select this
background info right there, which is the
| | 03:42 |
actual header that's at work inside the
file.
| | 03:45 |
And then I'll press Ctrl+V, or Cmd+V on
the Mac, in order to replace it with the gradients.
| | 03:51 |
Don't need to worry about the
indentation.
| | 03:53 |
And then what you want to do is go ahead
and get rid of this new header bar style.
| | 03:57 |
Because it's not actually called inside
the HTML document.
| | 04:01 |
Now, we want to go ahead and preview our
work inside Google Chrome, in my case.
| | 04:06 |
You can use any browser you like.
And, as soon as I choose this command,
| | 04:10 |
Dreamweaver's going to ask me if I want
to go ahead and save my changes.
| | 04:13 |
And the answer is yes.
And then, it'll switch me over to a new
| | 04:17 |
version of this document.
That now contains the gradient.
| | 04:21 |
So, before, we just had a blue bar, now,
we've got a gradient bar.
| | 04:25 |
Now, let's do the same for this Buy Now,
button down here.
| | 04:30 |
And this time around, if I switch back to
Dreamweaver, I'll switch over to the
| | 04:33 |
source code and scroll down a little bit
here.
| | 04:37 |
And you can see that Justin is calling
this class called, Button But we haven't
| | 04:41 |
yet defined button as a style inside the
style sheet.
| | 04:46 |
So I'll go ahead and switch over to my
Photoshop document and if I scroll down
| | 04:50 |
inside of this group called content.
You'll see that there is an item called button.
| | 04:57 |
So, the layer name matches the style
name, which is handy.
| | 05:01 |
And that's the way you want to work, by
the way, as often as possible.
| | 05:04 |
Go ahead and right click in an empty
portion of that button layer.
| | 05:08 |
Bear in mind this is a vector-based shape
layer, which is what Photoshop is looking for.
| | 05:12 |
And so go ahead and choose copy CSS in
order to copy that code.
| | 05:18 |
Then I'll switch back to Dreamweaver.
I want to switch over to the style.css
| | 05:21 |
document here.
And I'm going to scroll all the way to
| | 05:24 |
the end of the document, to line 124 in
my case and press Control V, or Command V
| | 05:29 |
on a Mac, in order to paste that button.
Now let's see how things look.
| | 05:36 |
By going up to this little world icon
again, an choosing preview in Chrome,
| | 05:40 |
I'll click Yes to go ahead an save the
changes.
| | 05:45 |
And turns out positioning is a problem.
This buy now button has moved over on top
| | 05:49 |
of the robot.
An where it appears for you if you're
| | 05:52 |
working along with me, is going to depend
on the size of your browser window.
| | 05:56 |
But this is not what I want.
And as I was telling you, this is
| | 05:59 |
typically a problem, when you're copying
CSS from Photoshop.
| | 06:03 |
Is that you get extraneous or
incompatible placement information.
| | 06:08 |
So I'm going to switch back to
Dreamweaver, and I'm going to get rid of
| | 06:11 |
this position code right here.
So you want to select position absolute
| | 06:15 |
as well as left and top, press the
backspace key.
| | 06:19 |
Or the delete key on the Mac to get rid
of them.
| | 06:20 |
And now, let's preview what we've done
once again inside Chrome.
| | 06:24 |
Click the yes button in order to go ahead
and save my changes.
| | 06:27 |
And this time, everything looks the way
it should.
| | 06:31 |
And so, just to give you a sense of how
far we've come in such a small period of time.
| | 06:35 |
Here's the original version of that file.
You haven't changed anything about the
| | 06:42 |
index.html file.
Everything's happened inside the style sheet.
| | 06:46 |
And then here's the gradient bar at the
top, there's the gradient button in the
| | 06:57 |
wrong location.
| | 07:02 |
| | Collapse this transcript |
|
|
4. 3D Imaging UpdatesEnhanced 3D lighting with 32-bit color| 00:00 |
If you're a 3D enthusiast then, you'll
find a lot to like about the new creative
| | 00:04 |
cloud update.
Starting with a whole slew of lighting
| | 00:08 |
enhancements, that include the ability to
define the color of lights in the 32 bit
| | 00:12 |
per channel space.
And that means that you can achieve much
| | 00:16 |
more nuanced effects and as a result.
We'll be able to transform this lead like
| | 00:22 |
creature here, into this final golden
bull.
| | 00:26 |
I'm going to start things of by switching
over to the 3D workspace, which you can
| | 00:30 |
do by clicking on the word Essentials.
Or whatever it says up here in the upper
| | 00:35 |
right corner of the window, and choosing
3D.
| | 00:39 |
And that'll bring up the 3D panel that
you see down here at the bottom of the screen.
| | 00:43 |
Now I've gotta switch back to the Layers
panel and make sure my bull layer is
| | 00:46 |
active, that is the 3D layer that we're
working on.
| | 00:50 |
And then I'll switch back to the 3D
panel, and notice that I've got a couple
| | 00:54 |
of lights at work here.
Including this infinite light called
| | 00:58 |
sunlight, and I'll go ahead and click on
it to make it active.
| | 01:02 |
Now if I wanted to modify the placement
of the light, then I would switch over to
| | 01:05 |
the Move tool, which you can also get by
pressing the V key.
| | 01:10 |
And then you'll see all this 3D (UNKNOWN)
on screen, I don't want to move the
| | 01:13 |
light, so I really want to get all this
garbage off the screen.
| | 01:18 |
And you can do that just by switching to
some other tool.
| | 01:20 |
For example if I press the M key to
switch to the Rectangular Marquee tool.
| | 01:25 |
Then all that stuff goes away, but I can
still modify my attributes, including sunlight.
| | 01:31 |
And one of the great attributes of lights
is shadow, specifically the softness of
| | 01:35 |
the shadow, which you can get to up here
in the Properties panel by clicking on
| | 01:39 |
this first icon, Infinite Light.
Then you can modify this shadow and
| | 01:45 |
notice as I change it, I can actually
preview the effects.
| | 01:50 |
Inside the newest version of the
software.
| | 01:52 |
Which is really valuable.
Now I'm going to adjust the color of the
| | 01:57 |
light by clicking on the white swatch
here.
| | 01:59 |
And that'll bring up this 32-bit color
picker.
| | 02:02 |
Now, notice where the eight bit values
are concerned, I've maxed them all out.
| | 02:06 |
So, we've got 255 for r g and b.
Which means we have the whitest white
| | 02:12 |
there is.
And yet I can still crank up the
| | 02:15 |
intensity value to make that light even
brighter, thanks to the fact that I'm
| | 02:19 |
working in the 32 bit per channel space.
And I can take that intensity all the way
| | 02:25 |
up to plus 20 stops, which is going to
increase my 32 bit RGB values.
| | 02:31 |
From what they were before which was one
a piece All the way up to 20 a piece, so
| | 02:35 |
we've got an incredible level of control.
Obviously, I don't want to go this high
| | 02:41 |
with the value, so I'm just going to take
it up to three color stops.
| | 02:45 |
And that is still a much more intense
light than we had before.
| | 02:48 |
Now, click OK in order to accept that
change.
| | 02:52 |
Next, I want to adjust my other light
source which is called reflected light.
| | 02:56 |
And if you were to turn that light off
for a moment, you'll see that it's coming
| | 03:00 |
from down below.
So, in other words, it's behaving as if
| | 03:04 |
it's the sunlight reflected off of this
floor here.
| | 03:07 |
I'll go ahead and turn it back on and I'm
going to adjust its color too by clicking
| | 03:11 |
on this white color swatch once again.
And this time I'm going to take the
| | 03:16 |
intensity value up to 1.5, and you can
see how that's breathing more light into
| | 03:21 |
the bottom of the bull.
Now click OK in order to accept that change.
| | 03:27 |
Now I want to make the bull appear more
golden, and I'm going to do that by
| | 03:30 |
adjusting the material, which is to say,
the stuff that is wrapped around the bull.
| | 03:36 |
And you can get to the material by click
on this item at the bottom of the 3D
| | 03:39 |
panel, which is called default matte.
And now I'm going to add some self
| | 03:45 |
illumination to this object, by clicking
on this black swatch, to the right of the
| | 03:48 |
word illumination at the top of the
Properties panel.
| | 03:51 |
And I'm just going to dial in, bright
yellow, by changing the hue value, down
| | 03:56 |
here in the bottom right region of the
dialogue box, to forty degrees.
| | 04:02 |
Then I'll take the saturation up to a 100
and the brightness up to a 100% as well.
| | 04:07 |
As you can see, that gives us way to much
color, so what we need to do in this
| | 04:11 |
case, is crank the intensity value down.
And I'm going to take it pretty far down,
| | 04:18 |
actually, to negative 3.5, is ultimately
what I came up with.
| | 04:24 |
And now I'll click OK, in order to accept
that result.
| | 04:27 |
So, you can that we have just this
amazing, amount of control over our lighting.
| | 04:32 |
I'll click OK, and finally I want to
change the color of the specular
| | 04:36 |
highlights, which are these very bright
blown highlights across the object.
| | 04:43 |
And you do that by click on the light
swatch by default.
| | 04:46 |
Associated with the Specular option.
And this time, I'm going to dial in the
| | 04:51 |
hue value of 40 degrees and a saturation
of 50%.
| | 04:55 |
And I'll leave the brightness value set
to 100%.
| | 04:58 |
I could take the intensity down if I want
to completely get rid of any of the
| | 05:01 |
clipping that we're seeing in the lights.
But that clipping actually looks great
| | 05:06 |
and it's consistent with gold.
So, I'll go ahead and leave the intensity
| | 05:09 |
value at zero.
And then I'll click OK.
| | 05:13 |
The last thing I want to do, is adjust
the attributes associated with the ground plane.
| | 05:16 |
And the ground plane is this invisible
plane upon which the bull is resting
| | 05:20 |
here, his foot's actually on the ground
plane.
| | 05:23 |
And that allows us to cast a shadow.
On to what is actually a flat photograph
| | 05:28 |
in the background.
And to adjust the ground plane you click
| | 05:32 |
on the word environment up here at the
top of the 3D panel.
| | 05:35 |
And then, you want to scroll down inside
the Properties panel down to the very
| | 05:39 |
bottom where you see these ground plane
options.
| | 05:42 |
And I'm going to change the opacity of
the shadows to 45%.
| | 05:47 |
And that's going to change the opacity of
this shadow right there.
| | 05:50 |
And I'm also going to add some
reflectivity by changing this opacity
| | 05:53 |
value that's associated with reflections.
You can take it as high, notice that, as 100%.
| | 06:01 |
Which basically treats the floor like
it's some kind of mirror.
| | 06:04 |
I don't want it to be that reflective, so
I'll take the value to 40% right there.
| | 06:09 |
And then, I also want to increase the
roughness.
| | 06:12 |
And notice that we can preview the
reflection on the fly and we can preview
| | 06:15 |
it's roughness as well.
So, if I start increasing that roughness
| | 06:19 |
value, you can see that the reflection
becomes a little less obvious, so that
| | 06:23 |
the floor isn't nearly as highly polished
as it was before.
| | 06:28 |
I'm going to go ahead and take that
roughness value up to 60%.
| | 06:32 |
So, we've got 45% for the shadows, and
then 40% and 60% for the reflections.
| | 06:38 |
Now were ready to go ahead and render the
scenes, and you do that by clicking on
| | 06:42 |
this little Render button at the bottom
of the Properties panel.
| | 06:46 |
And notice as soon as you do, you'll see
this little message down left that's
| | 06:49 |
telling you.
That in just a moment, Photoshop is going
| | 06:53 |
to share with you some information about
how long it's going to take to render the scene.
| | 06:58 |
And in my case, it's telling me that the
time remaining is about nine minutes and
| | 07:02 |
change at this point.
And by the way, those animating blue
| | 07:06 |
dotted outlines there, that represents
the portion of the image that's being
| | 07:10 |
rendered at any given time.
But rather than make you watch the entire
| | 07:15 |
process, we're going to go ahead and cut
to the final rendered version of the scene.
| | 07:20 |
Now the scene's a little light for my
taste.
| | 07:23 |
But rather than going back and monkeying
with the lighting settings, which could
| | 07:26 |
take a lot of time and effort.
We're working in Photoshop after all, so
| | 07:31 |
we might as well just apply an Adjustment
layer.
| | 07:34 |
So, I'll switch back to the Layers panel
and I'll press and hold the Alt key or
| | 07:37 |
the Option key on the Mac.
Click the black white circle at the
| | 07:41 |
bottom of the Layers panel, and choose
the Levels command.
| | 07:44 |
And because I have the Alt or Option key
down, I can go ahead and name the layer
| | 07:47 |
as I create it.
I'll call it darken, and click OK.
| | 07:51 |
And now that Photoshop has replaced the
contents of the Properties panel with the
| | 07:55 |
levels adjustments, I'll go ahead and
change that black point value to 50.
| | 08:00 |
And then I'll take the gamma value up to
1.1 by tabbing to it and pressing Shift
| | 08:05 |
up arrow.
And we end up with this final version of
| | 08:10 |
the scene.
All thanks to Photoshop enhanced lighting
| | 08:14 |
features, which include your ability to
preview the appearance of shadows and reflections.
| | 08:20 |
As well as the option, to define the
color of lights, in a 32 bit per channel space.
| | 08:26 |
| | Collapse this transcript |
| The new default 3D image-based light| 00:00 |
Another great advantage to the creative
cloud is that Photoshop provides every 3D
| | 00:05 |
object you create with a default image
based light, also known as an IBL.
| | 00:12 |
Now, an image based light actually uses a
photographic image, or a pixel based
| | 00:16 |
image, at any rate, in order to light a
scene.
| | 00:20 |
The advantages are two fold.
First of all an IBL allows you to wrap an
| | 00:24 |
environment around a scene.
And secondly you can simulate multiple
| | 00:28 |
points of lights without having to create
each light independently.
| | 00:34 |
We'll be using an IBL to transform our
golden bull so far into this, even
| | 00:38 |
shinier version of the object with all
these rippling lights all over the place.
| | 00:44 |
So, I'll go ahead and switch back to the
image in progress, and then I'll click on
| | 00:48 |
the bull layer, which is the 3D layer,
then I'll switch over to the 3D panel.
| | 00:55 |
And you want to click on the word
environment at the top of the list, and
| | 00:58 |
then notice this checkbox right here,
IBL, you want to go ahead and turn it on.
| | 01:04 |
Now, if you end up getting a weird
result, for example, the word
| | 01:07 |
environment, at the top of the 3D panel
changes to image base light one.
| | 01:13 |
Then here's what you do.
Go ahead and save the file, just by
| | 01:16 |
choosing the Save command from the File
menu.
| | 01:19 |
Close it, and then open it back up, and
everything will be back to normal.
| | 01:25 |
Then, you want to make sure that
environment is selected again.
| | 01:29 |
Now, by default, our image base light is
black.
| | 01:33 |
And that's because actually we don't even
have one.
| | 01:36 |
And the reason that we don't have one
where this image is concerned is because
| | 01:40 |
I created this image, originally, in a
previous version of Photoshop.
| | 01:46 |
Now, if you have such an image and you
want to access Photoshop's default image
| | 01:49 |
base light, then here's what you do.
You just have to create a new file.
| | 01:54 |
So, I'll go up to the File menu.
And choose the new command, or you can
| | 01:58 |
press Ctrl+N or Cmd+N on the Mac.
And I'm going to dial in my screen
| | 02:03 |
resolution which is 1280 by 720, just
because that'll look good in the video.
| | 02:08 |
And then I'll click OK in order to create
this new file.
| | 02:12 |
Go ahead and zoom on in, and then here
inside your 3D panel, you want to create
| | 02:15 |
some kind of new 3D object.
I'm going to select Mesh from preset,
| | 02:20 |
which allows you to select from a bunch
of different kinds of models here.
| | 02:24 |
And then, I'll go with Ring.
You can create anything you like.
| | 02:29 |
It doesn't matter.
But, Ring just happens to work nicely.
| | 02:31 |
And then, click on the Create button in
order to create that ring inside the
| | 02:35 |
Image window.
Now, currently we're looking at the side
| | 02:38 |
of the ring.
That's why it doesn't look very ring-like
| | 02:42 |
at all.
But Photoshop should have gone ahead and
| | 02:44 |
automatically switched you over to the
Move tool.
| | 02:46 |
And you've got these sub tools up here in
the Options bar.
| | 02:50 |
The very first one should be selected,
which allows you to rotate the object in
| | 02:54 |
3D space.
So, I'm just going to go ahead and drag
| | 02:57 |
down here in the lower left corner of the
window, and you can see we've got this
| | 03:01 |
very thin, sort of wedding ring.
Now what you want to do is click on
| | 03:06 |
Environment, here inside the 3D panel.
Make sure that IBL is turned on.
| | 03:12 |
If it isn't, go ahead and turn it on.
And then you want to click on this little
| | 03:15 |
page icon and choose Edit Texture.
And that'll open up this little texture
| | 03:19 |
pattern right there, and i'll go ahead
and zoom on in, now notice that this is a
| | 03:22 |
very small file by the way.
If I click and hold on this little dock
| | 03:27 |
item down here in the lower left corner
of the window you can see that the final
| | 03:31 |
size is just 512 pixels by 256 pixels.
Which is plenty by the way for the effect
| | 03:38 |
we're looking for because we are working
in the 32 bit per channel color mode.
| | 03:44 |
And that's indicated to us by the
occurence of RGB slash 32, up here in the
| | 03:48 |
Title tab.
And that's going to make for some very
| | 03:52 |
nice lighting.
So essentially, every single one of these
| | 03:55 |
dollops of white turns into a light.
Now, I don't want this much ambient
| | 04:00 |
light, that's implied by this light grey
here.
| | 04:03 |
And if you're seeing that.
Because you never know, sometimes Adobe
| | 04:06 |
changes these things on the fly.
But if you're seeing this grayish
| | 04:10 |
background, then go to the Image menu,
choose Adjustments, and choose the Levels command.
| | 04:14 |
Or you can push Ctrl+L or Cmd+L on the
Mac.
| | 04:17 |
And drag this black point value until you
get to the spike over there, which
| | 04:22 |
happens, in my case, at 60.
And now, click OK in order to accept that change.
| | 04:29 |
Now, go up to the select menu and choose
the all command, or press Ctrl+A or Cmd+A
| | 04:33 |
on the Mac.
And then go ahead and copy this image and
| | 04:37 |
I'll just do that by pressing Ctrl+C or
Cmd+C on the Mac.
| | 04:41 |
And now you can go ahead and close this
file if you want to.
| | 04:44 |
And you don't have to save the changes,
so click on the No button here on the PC,
| | 04:47 |
or the Don't Save button on a Mac.
And now let's switch to
| | 04:51 |
thegoldenbull.psd, file in progress.
And I'll make sure that Environment is
| | 04:56 |
still selected at the top of the 3D
panel.
| | 04:59 |
Go up to IBL, click on the little folder
icon and choose new texture.
| | 05:04 |
And that'll bring up this new dialogue
box.
| | 05:06 |
And you definitely want to go with a
preset set to clipboard, so that the
| | 05:10 |
width is 512 pixels and the height is 256
pixels.
| | 05:15 |
And then, go ahead and click OK.
Photoshop'll start by filling the IBL
| | 05:19 |
with white, which means the entire thing
is a big light, obviously overlighting
| | 05:24 |
the scene.
What you want to do is click on the
| | 05:27 |
little page icon again and choose Edit
Texture in order to open the texture in a
| | 05:31 |
new window.
And then I'll press Ctrl+ V, or Cmd+V on
| | 05:36 |
a Mac, in order to paste that IBL into
place and I'll switch to the Layers panel.
| | 05:42 |
Notice we've got an independent footing
layer, we don't need that.
| | 05:45 |
So let's go ahead and merge things by
going up to the Layer menu and choose
| | 05:48 |
Merge Down command or you can press
Ctrl+E or Cmd+E on the Mac.
| | 05:53 |
Then click the Close button to close this
IBL.
| | 05:56 |
And go ahead and click the Yes button on
the PC or the Save button on the Mac in
| | 05:59 |
order to save your change and you'll end
up with an effect like this.
| | 06:05 |
Now the background isn't really this
dark, it's just that we're seeing the IBL
| | 06:09 |
in the background as well for the moment.
But before we leave the environment which
| | 06:14 |
you can see here in the 3D panel still
selected, I want you to crank up the
| | 06:18 |
intensity value of the IBL.
So you can make it very bright indeed if
| | 06:22 |
you want to, or you can darken things up
dramatically.
| | 06:25 |
What we want to do and this may seem
surprising, given the amount of contrast
| | 06:29 |
we have right now.
But I'm going to take it up to 150%.
| | 06:35 |
And then I'm going to switch to my
sunlight light.
| | 06:37 |
Notice that the background grew brighter
again because we're not seeing the IBL in
| | 06:40 |
the background anymore.
And then we'll take its intensity down to
| | 06:45 |
25%, and that's it.
Now press the M key to switch back to the
| | 06:48 |
Rectangular Marquee tool.
So we don't have all that 3D gadgetry
| | 06:52 |
showing up on screen.
And then click on the Render button down
| | 06:56 |
here at the bottom of the properties
panel in order to render the scene.
| | 07:00 |
And notice once again you'll see this
little pop up that's telling you that in
| | 07:03 |
a moment.
You will see how long it's going to take
| | 07:06 |
to render the scene, and how far
Photoshop is through the process.
| | 07:11 |
It also provided a little trick, it's off
screen now.
| | 07:14 |
But it tells you, that if you want to, at
any point in time, cancel the render,
| | 07:18 |
because, by the way, the first few
minutes of the render are the most important.
| | 07:24 |
So, every single render pass does less
and less to the scene.
| | 07:29 |
So, if you let this thing go even though
it's going to take like 15, 16 minutes,
| | 07:32 |
it's telling me if I were to cancel it
after two minutes I would still get a
| | 07:35 |
halfway decent render.
It's just going to be noisier than it
| | 07:40 |
would be when it completely finishes.
If, at anytime, you want to cancel the
| | 07:45 |
render, you no longer click in the screen
that way you used to, instead, you press
| | 07:49 |
the Esc key.
But at any event, since it's going to
| | 07:52 |
take so long, we're going to go ahead and
fast forward to the end of the process.
| | 07:57 |
And now, we have the final rendered
version of the bull with all kinds of
| | 08:01 |
highlights across its body.
Thanks not only the Photoshop support for
| | 08:06 |
image based light.
But also, to the fact that, every single
| | 08:11 |
new document, now includes an IBL by
default.
| | 08:16 |
| | Collapse this transcript |
| Duplicating, deleting, and grouping 3D objects| 00:00 |
One of the most mind numbing things you
can do in Photoshop is assemble a 3D
| | 00:04 |
scene, complete with various objects
interacting with each other.
| | 00:09 |
But, now the process has been made not
perfect but a lot easier, because you can
| | 00:13 |
now duplicate a mesh, you can delete a
mesh believe it or not, you couldn't do
| | 00:17 |
that before and you can create groups of
meshes as well.
| | 00:23 |
And if you're wondering what I'm talking
about, what I mean by mesh, that would be
| | 00:27 |
each one of these objects inside of this
3D scene.
| | 00:32 |
So, you can see I'm working inside the 3D
panel.
| | 00:35 |
The first mesh is called Diablo, and
that's the actual SUV.
| | 00:39 |
Then we've got four meshes for the four
rocks, and then we've got a couple for
| | 00:42 |
the horns, which are currently in the
wrong position but that will remedy
| | 00:46 |
itself shortly.
What I want to do is create a fifth rock.
| | 00:52 |
Now, prior to this version of the
software, that was very difficult.
| | 00:57 |
Now, I have a couple of different Options
at my disposal.
| | 01:00 |
I can go ahead and select Rock Three,
which is the one I want to duplicate
| | 01:04 |
here, happens to be this guy.
And I'll go to the Layers panel Flyout
| | 01:09 |
menu and I'll choose Instant Object, in
order to create a clone essentially of
| | 01:13 |
that rock.
And it's called Rock 31, as you can see here.
| | 01:18 |
I'll go ahead and move it up the stack,
which is something I could not do in
| | 01:21 |
previous versions of Photoshop.
Notice that takes us out of the ray trace.
| | 01:26 |
But we'll go ahead and bring back the
shadows, and the reflections when we
| | 01:29 |
render the final scene.
Now, I'm going to grab rocks 1 and 2, and
| | 01:33 |
drag them up the stack as well, so
everything's in a proper order.
| | 01:39 |
And so we've got one instance at this
point.
| | 01:41 |
I'm going to move it from this location
here, so we've got one rock sitting right
| | 01:44 |
on top of the other.
I'm going to move it over to the right
| | 01:48 |
nearer the end of the scene, by entering
some numerical values here.
| | 01:53 |
So, I've got the rock selected.
I'll go up to the Properties panel and
| | 01:56 |
switch to the coordinates icon.
And then I'll just dial in some values.
| | 02:01 |
First we have the position values.
I'm going to change the X value to 24,
| | 02:04 |
and then press the Tab key a couple of
times in order to highlight the Y value,
| | 02:08 |
change it to negative 11.
Press the Enter key or the Return key on
| | 02:13 |
Mac in order to accept that change.
And then, I'm going to change the Z value
| | 02:18 |
here, the angle value to negative 83,
just to rotate the rock around a little
| | 02:23 |
more so it looks like a unique item.
Now we've got two rocks that are linked together.
| | 02:30 |
You can also create an entirely
independent rock if you like, by
| | 02:33 |
selecting one of them, rock one in my
case.
| | 02:36 |
And then going back to the Layers Panel
Flyout menu and choosing Duplicate Object.
| | 02:42 |
And now I'll go ahead and make a copy
down here at the bottom of the stack.
| | 02:45 |
I'm going to move it up to this position
right there, and I'm going to rename it
| | 02:49 |
Roofrock because I'm going to put it on
the roof of the car.
| | 02:54 |
And I'm going to dial in some new values
for it as well, by selecting the little
| | 02:58 |
coordinates icon.
This time I want an x value of negative 5.
| | 03:03 |
I'll tab my way to the y value, you may
have to press the Tab key a couple of
| | 03:06 |
times and press the Down arrow key to
reduce it to negative 25.
| | 03:12 |
Then, what I want to do, is I want to
change the Z value to 11.
| | 03:15 |
But this may or may not work.
Actually it worked out fine this time.
| | 03:19 |
That's great.
If not, you're going to have to switch to
| | 03:21 |
the Move tool and drag that guy upward.
And then finally, I'm going to change
| | 03:26 |
this Z angle value right there to
negative 27.5.
| | 03:31 |
Just once again, so it doesn't look like
exactly the same rock as we have over
| | 03:34 |
here on the left hand side of the screen.
What is the difference between an
| | 03:39 |
instance and an entirely independent
duplicate.
| | 03:43 |
I'll show you.
I'll go ahead and twirl open rock three
| | 03:45 |
here, so that I can gain access to its
material.
| | 03:48 |
And I'm going to rename that material
Blue rock, because I'm going to change it
| | 03:52 |
to blue by selecting it and then going up
to the Properties panel, clicking in a
| | 03:56 |
little page next to the word diffuse
there and choosing Edit Texture.
| | 04:03 |
And that'll bring out my texture along
with my UV map and I'll switch over to
| | 04:06 |
the Layers panel, click on a little black
white circle on the bottom of the panel
| | 04:10 |
and choose Hue Saturation.
Then, inside the Properties panel, I'll
| | 04:16 |
scroll down to the colorized checkbox,
turn it on, scroll back up and change the
| | 04:20 |
hue value to 210, and then I'll change
the saturation value to 50.
| | 04:26 |
Now I'll close this texture, and I'll
click yes in order to save that file.
| | 04:31 |
Now at this point you'll see all of the
rocks change to blue and the reason so
| | 04:35 |
many of them are changing, I'll switch
over back to the 3D panel, is because
| | 04:39 |
rocks 1,2,3, and 4 were already set to
use the exact same texture.
| | 04:46 |
And now 31 is also using that same
texture, because its an instance of rock 3.
| | 04:52 |
The duplicate, however, did not change.
This roof rock remains entirely independent.
| | 04:58 |
If at any time you want to take an
instance and you want to make it
| | 05:00 |
independent, then just go ahead and
select it, in this case it's rock 31.
| | 05:05 |
And go up to the Flyout menu icon and
choose Bake Object, and that will go
| | 05:08 |
ahead and create an independent version
of that rock.
| | 05:13 |
And this time I'll rename it rock five
because that's what it is and drag it
| | 05:17 |
down to stack.
And I'll double-click this texture right
| | 05:21 |
there and I'll rename it Red rock this
time.
| | 05:24 |
And with that material selected, go up to
the little page icon to the right of the
| | 05:28 |
word diffuse and choose Edit Texture.
And this time I'll change the hue value
| | 05:34 |
for that hue saturation layer to 0.
I'll go ahead and close this image, click
| | 05:39 |
on the Yes button here on the PC, that's
a Save button on a Mac and you can see
| | 05:42 |
just that one rock turn to red, the other
ones remain blue.
| | 05:48 |
If anytime, you decide you've created too
many rocks or what have you, you just
| | 05:52 |
want to get rid of one of your meshes,
all you need to do is select that item.
| | 05:57 |
Such as rock5 right here and click on the
little trash icon to get rid of it.
| | 06:02 |
And that will get rid of the object
permanently.
| | 06:04 |
However, I don't want to do that.
So I'll go ahead and press Ctrl+Z, or
| | 06:07 |
Cmd+Z on the Mac, in order to bring that
object back.
| | 06:10 |
And finally what I want to do is take
these various rocks here.
| | 06:13 |
I'll click on rock1 and Shift click on
Roof rock in order to select that entire range.
| | 06:19 |
And I also need to Ctrl+Click or
Cmd+Click on rock five down here at the
| | 06:23 |
bottom of the stack.
We go ahead and select those guys again,
| | 06:27 |
because they got deselected when I twirl
closed horn two.
| | 06:30 |
You may find, depending on which version
you have at the moment, that it does not
| | 06:35 |
save the new order of your objects.
That is a problem that I've brought to
| | 06:41 |
Adobe's attention, and they've promised
that they're going to fix that in a
| | 06:43 |
future build.
But in the mean time, I'm going to go
| | 06:46 |
ahead and group all these rocks together,
by going up to the Flyout menu and
| | 06:50 |
choosing Group Objects.
And notice that for whatever reason,
| | 06:54 |
something strange about this file that
causes the horns to change in position.
| | 06:59 |
So, as soon as I choose that command,
then my horns become upright, which is
| | 07:02 |
what I wanted in the first place anyway.
Go ahead and twirl all of these guys
| | 07:07 |
closed because they have a habit of
popping open.
| | 07:10 |
That's another item on Adobe's list of
things to fix by the way, and I"m
| | 07:14 |
going to go ahead and rename this new
group Rocks.
| | 07:20 |
Now go ahead and render the scene, by
clicking on the little render icon at the
| | 07:23 |
bottom of the Properties panel.
It's also located by the way at the
| | 07:27 |
bottom of the 3D panel.
So either way is going to work out just
| | 07:30 |
fine for you, and then of course
Photoshop is going to tell you that it's
| | 07:33 |
rendering the file.
And you can interrupt the render anytime
| | 07:37 |
you like, just by pressing the Escape
key.
| | 07:41 |
So we're going to go ahead and speed up
the process dramatically.
| | 07:45 |
So here's the final fully ray traced
scene.
| | 07:47 |
Thanks to the new and improved scene
editing functions, which include the
| | 07:52 |
ability to duplicate and delete meshes
here inside Photoshop.
| | 07:57 |
| | Collapse this transcript |
| Live 3D painting| 00:00 |
Photoshop now offers a feature called
Live 3D Painting.
| | 00:04 |
And the idea is you can paint directly on
the 3D object, as you've been able to do
| | 00:08 |
for a while now, and you can also have
open your Diffuse Texture, which is
| | 00:11 |
wrapped around a 3D object.
And you can brush inside either window
| | 00:17 |
and preview the effects in both windows
at the same time.
| | 00:20 |
For example, let's say I want to take
this brown bull, and I want to give it
| | 00:24 |
some white horns and I also want to
darken up its hooves.
| | 00:27 |
Well then I go ahead and switch to my
Brush tool, which you can get by pressing
| | 00:30 |
the B key.
And then I go out the Window menu and
| | 00:34 |
choose Color, to bring out the Color
panel.
| | 00:37 |
And you can see that I've switched over
to the HSB Sliders here in the fly out
| | 00:40 |
menu, and I'll dial in a very pale shade
of yellow.
| | 00:45 |
I'll change the Hue value to 50 degrees,
I'll take the Saturation value up to 15%
| | 00:49 |
and I'll take the Brightness up to 90%.
Now I'll go ahead and hide the panel.
| | 00:55 |
Now what I'd like to do at this point, is
paint on this horn.
| | 00:58 |
But if I do use, then I'm going to get
this warning that's telling me that my
| | 01:02 |
Diffuse Texture does not contain a proper
target layer.
| | 01:06 |
And the solution is to click on that
button, Change Texture Target, in order
| | 01:10 |
to open the Diffuse Texture in a
different window.
| | 01:14 |
And you can see, sure enough, I've got
this Smart Object called Gray with a
| | 01:17 |
Gradient Map Adjustment layer sitting on
top of it, neither of which I can paint on.
| | 01:22 |
So I'll press Ctrl+Shift+N or Cmd+Shift+N
on the Mac to create a new layer, and
| | 01:26 |
I'll call it Horns and click OK.
Now notice this grid here, that's the UV
| | 01:31 |
map and it shows me how the texture is
going to map onto the object.
| | 01:37 |
So, we're basically seeing a flayed
version of the bull here.
| | 01:41 |
If you want to change that UV overlay, so
it's not quite so onerous, so very much
| | 01:45 |
in your way.
Then, scroll down to the bottom of the
| | 01:49 |
Properties panel, make sure the Brush is
selected, by the way.
| | 01:52 |
And you'll see this check mark, UV
overlays, you can turn it off if you want
| | 01:55 |
to if you don't want to see the overlay
at all.
| | 01:58 |
But you probably want it there, otherwise
you're working blind.
| | 02:01 |
What I'm going to do is change it's color
by clicking on a little swatch.
| | 02:05 |
And I'll dial in a Hue value of 180
degrees, which is cyan.
| | 02:09 |
And then I'll take both the Saturation
and Brightness values up to 100% and
| | 02:12 |
click OK.
And then I'm going to take the Opacity
| | 02:17 |
value here down to 50%.
Now let's go ahead and zoom on into the
| | 02:21 |
artwork a little bit.
And I also want to be able to see both
| | 02:25 |
images at the same time.
So, I'll go up to the window menu, choose
| | 02:29 |
Arrange, and then choose 2-up Vertical,
so then I can see the bull over here on
| | 02:33 |
the right hand side.
And I'll Shift+Spacebar drag in order to
| | 02:38 |
scroll both pieces of the artwork, it
actually needs to come over even farther here.
| | 02:43 |
And then I'll switch over to the bull as
I've done, and just so they don't make a
| | 02:46 |
mess of things I'll right-click inside
the Image window.
| | 02:51 |
And I'll increase the Hardness value to
100%.
| | 02:54 |
And I'll also press left bracket key a
few times to reduce the size of my
| | 02:57 |
cursor, and notice a couple of things.
First of all, as I move my cursor around
| | 03:02 |
inside the 3D window, I see a cross
moving around inside the Diffused
| | 03:06 |
Texture, and so I can see exactly which
part of the texture needs to be modified.
| | 03:13 |
I can also just paint across the horn,
for example, and I will see those brush
| | 03:17 |
strokes show up in the texture.
You'll often times have more control, if
| | 03:23 |
you just paint inside the texture.
So, I'll go ahead and switch over to the
| | 03:26 |
Texture window, notice the same thing is
happening that is to say I can see my
| | 03:29 |
circular brush over here in the left hand
window and that cross shaped target over
| | 03:33 |
in the right hand window.
And as I paint I can see everything
| | 03:39 |
update on the fly as well.
And the advantage of working this way, by
| | 03:44 |
the way, is I don't end up painting off
the horn, for example, and accidentally
| | 03:48 |
painting in something like the ear.
That would be a problem.
| | 03:53 |
And you're going to have the most luck,
if want to be able to preview things,
| | 03:56 |
like I'm doing right now, then you need
to use the Brush tool.
| | 03:59 |
As opposed to selecting a region and
filling it in for example, and I'll go
| | 04:03 |
ahead and paint in this guy presumably
since it's symmetrical to the rear horn
| | 04:06 |
it must represent the rear horn and sure
enough it does.
| | 04:11 |
You can see it updating on the fly even
though I've lost a little bit of the
| | 04:15 |
update associated with the first horn.
And if you want to correct things, so
| | 04:20 |
that you're seeing everything exactly the
way it is, then go up to the File menu
| | 04:24 |
and choose the Save command when working
inside the Diffuse Texture, by the way.
| | 04:30 |
And that will go ahead and save your
changes over to the 3D image, and you'll
| | 04:34 |
see it update properly, as well.
Now let's figure out where the hooves are.
| | 04:40 |
You can see if I move my cursor around
this location right here, inside the
| | 04:44 |
Diffused Texture, I'm seeing that cross
shaped target on the hooves over in the
| | 04:48 |
right hand window as well.
So, what I want to do is create another layer.
| | 04:54 |
And so I'll press Ctrl+Shift+N, or
Cmd+Shift+N on the Mac and call this guy
| | 04:58 |
Hooves, and then click OK.
And I'm going to paint these guys black,
| | 05:02 |
so I'll press the D key to make my
foreground color black.
| | 05:06 |
And then I'll just paint in this region
like so, taking care not to accidentally
| | 05:10 |
paint inside the horns, of course.
And that takes care of that hoof.
| | 05:16 |
This just so happens to be the other
hoof, the other forward hoof that is to say.
| | 05:21 |
And you can see it updated on the fly as
I paint it.
| | 05:26 |
I kind of lost the update on the first
hoof but that's, Okay.
| | 05:29 |
And this, if I go ahead and switch to 3D
image and scroll it over a little bit.
| | 05:34 |
This is one of the rear hooves, in fact
its the one we can see, which is handy.
| | 05:39 |
So I'll just go ahead and paint it in,
and then finally, this guy down here,
| | 05:42 |
scroll down a little bit.
These guys are the ears incidentally.
| | 05:47 |
This is the other hoof, the hoof in the
background that we really can't see from
| | 05:51 |
this vantage point, but just in case I
decided to change the camera angle, might
| | 05:55 |
as well paint it in.
I'm going to zoom out a little bit here
| | 06:00 |
from the texture.
Also, go ahead and save my changes so
| | 06:03 |
everything updates properly on screen by
pressing Ctrl+S or Cmd+S on the Mac.
| | 06:09 |
And now we can see all the hooves update.
The other thing I want to do here, is
| | 06:13 |
create a little bit of a soft transition
and notice when I move my cursor over
| | 06:17 |
this region right here and I'm indicating
this area.
| | 06:22 |
With the circular brush over in the
Diffused Texture on the left hand side.
| | 06:26 |
I can see the cross move across the top
portion of the hoof, in the right hand window.
| | 06:32 |
That's an area where I can create a soft
transition.
| | 06:34 |
So, I'll right-click inside the Image
window and reduce the Hardness value to 0%.
| | 06:39 |
And then I'll go ahead and increase the
size of my cursor a little bit, like so.
| | 06:42 |
And I'm going to just paint right next to
it, like that, in order to paint in a
| | 06:46 |
little bit of a soft transition right
there.
| | 06:50 |
And I'll do the same thing at this
location.
| | 06:52 |
This would be the hoof that I really
can't see, actually, from this vantage point.
| | 06:56 |
Then, for the forward hooves, such as
this guy and this guy.
| | 07:00 |
I need to paint right along the top edge
there, in order to paint some softness
| | 07:04 |
into place.
And then I'll go ahead and scroll down to
| | 07:08 |
this location, and this is the forward
hoof, as you can see.
| | 07:12 |
So, I'll go ahead and paint just right
next to it as well, in order to soften
| | 07:16 |
that transition.
And that's pretty much all these is to it.
| | 07:20 |
Just one more change, I'm going to press
the M key to switch to the Rectangular
| | 07:23 |
Marquee tool.
And I'll press the 5 key to reduce the
| | 07:26 |
Opacity of this hoofs layer to 50%, and
then, I'll go up to the File menu and
| | 07:30 |
choose the Save command and you can see
that update apply here inside the 3D
| | 07:34 |
image window.
Now, I'll go ahead and close the Diffuse
| | 07:39 |
Texture because I'm done with it.
Press Ctrl+0 or Cmd+0 on a Mac in order
| | 07:44 |
to center my zoom.
And then finally, I'l render the scene by
| | 07:48 |
pressing the keyboard shortcut
Ctrl+Shift+Alt+R here on the PC, or
| | 07:52 |
Cmd+Shift+Option+R on the Mac.
And of course, Photoshop will tell me
| | 07:56 |
that it's render the scene, and I can see
how long it's going to take to render
| | 07:59 |
down here in the lower left corner.
Of course, we're going to go ahead and
| | 08:04 |
fast forward through that process.
So, here's the final 3D bull, complete
| | 08:10 |
with light horns and dark hooves.
Thanks to the power of Live 3D Painting
| | 08:16 |
inside Photoshop.
| | 08:18 |
| | Collapse this transcript |
|
|
ConclusionWhere to go next| 00:00 |
So there you have it, all of the new
features in Photoshop so far.
| | 00:05 |
Because I want to stress, this course is
a continual work in progress.
| | 00:09 |
If everything goes the way Adobe says it
will, then this course will never die.
| | 00:13 |
Alright, so, I'm not immortal.
I mean, well, I, so, that's what they say.
| | 00:18 |
I haven't, you're bumming me out.
Now you may wonder, what do you do next?
| | 00:23 |
Well, there's that other work in
progress, Deke's Techniques, which
| | 00:26 |
provides you with at least one movie
every single week, sometimes more.
| | 00:31 |
An then there's my overarching cradle to
grave one-on-one series, that starts with
| | 00:36 |
part one fundamentals, an moves on to
intermediate, advanced and mastery.
| | 00:42 |
Definitely check them out, let me know
what you think.
| | 00:45 |
And then remember, next time Photoshop
updates, come back to this course and
| | 00:49 |
I'll tell you all about the new stuff.
Until then, on behalf of lynda.com, this
| | 00:54 |
is Deke McClelland saying, see you.
| | 00:57 |
| | Collapse this transcript |
|
|
