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Pixel Bender kernel roundup

From: Photoshop CS4 One-on-One: Mastery

Video: Pixel Bender kernel roundup

I've gone ahead and saved my progress such as it is as Super frog kernel. I'm going to go ahead and try out a different Pixel Bender filter, and I'd love it if you join me as well. I'm going to go ahead and turn off CircleSplash in order to deactivate that little item there. Then notice if you go up to Filter menu, you'll see the first item is CircleSplash, which is that specific kernel that we applied from the Pixel Bender Gallery. So if I were to press Ctrl+Alt+F or Command+Option+F on the Mac, I would revisit the Pixel Bender Gallery, and I would see my last applied setting, CircleSplash right here. Let's switch to something different, so I'm just going to run through a few here.

Pixel Bender kernel roundup

I've gone ahead and saved my progress such as it is as Super frog kernel. I'm going to go ahead and try out a different Pixel Bender filter, and I'd love it if you join me as well. I'm going to go ahead and turn off CircleSplash in order to deactivate that little item there. Then notice if you go up to Filter menu, you'll see the first item is CircleSplash, which is that specific kernel that we applied from the Pixel Bender Gallery. So if I were to press Ctrl+Alt+F or Command+Option+F on the Mac, I would revisit the Pixel Bender Gallery, and I would see my last applied setting, CircleSplash right here. Let's switch to something different, so I'm just going to run through a few here.

Convergence, which is very much like something I wrote in the old days. I mentioned when I was gassing about the channel mixer long, long ago. Then I'd come up with a channel mixer years before Photoshop and I had written it with this thing called the Filter Factory, which shipped with Photoshop 3.0 way, way back when, and I created this thing that tore apart the channels, just like this. So it was absolutely just as useless as well. Here it is, back again. Convergence allows you to offset the Blue, Green and Red channels from each other to some extent as measured horizontally in the case of 0, and vertically in the case of 1 and so on. Then we've got Fisheye, and bear in mind, before I say too many negatives things about these filters, because Convergence is pretty silly. But imagine if it were animated, a lot of these filters are designed with After Effects in mind or something like Flash as well. So they work in After Effects, Flash and Photoshop.

I'm going to go ahead and switch over to Fisheye, were we to put the Center point in a better location, notice this time they went ahead and divided up the axes here so that they could name them better, whoever came up with this. Then I can assign a Radius value in order to make the frog small or big, like so. Then we've got Hole. The Hole creates a traveling hole inside of the shape. It also has some distortion. Now that's kind of cool. You can see how it'd be useful if it's animated. You can make it big or small. It's pretty interesting actually. I'm not going to use it or anything.

Then we have Edge smoothing that goes from smooth at 0 to not the least but smooth at 3. So we got Kaleidoscope, that one rocks! I'm saving that one. We'll go to Pixelate right there. Pixelate allows you to pixelate the image. We already have a mosaic filter, actually, inside of Photoshop. We've had it for years. So you can already do pixelation of the image like this. However, the difference is that we have the option of creating non-square pixels like these, if you want to, using this Pixelate function, which is interesting. RippleBlocks is another one that we'll come back to. Smudge goes ahead and creates this kind of pattern here, very easy to work with this one.

It's not a Smudge, I don't know what's so smudgy about it, but it does allow you to refract the image through a rippling lens. Next, we've got Spherize. It's going to make you think hey! We have a new technology version as Spherize, which begs even more the question why were you using the old Spherize in that previous example. The answer, of course, is because this one is not nearly as useful. You can set the center of your Spherizing effect, which is great, because you can't do that with the old style Spherize filter. You're always looking from the center of the selection.

So this one, you can move around as much as you want and you can't drag it around, but you can change its numerical location. You can also change the radius of the Spherize effect and you can change the amount of Refraction, whether it's spherizing a lot or a little, so whether the things are getting very, very convex indeed or not. You can't go concave with this. ? That's something you can't do with old style Spherize. So, one of the reasons it's not all that great. Again, you're working across both the vertical and horizontal axes. You don't have independent control. So, I won't probably be using that that much, but you might. We've got SpinRadialBlur, which is actually fairly awesome. I have to say this. This command right here is better in my estimation, having worked with it a little while, then the SpinRadialBlur filter. You can change the amount of blurring and you can see the Preview right there and you don't have to suffer with low quality and all those other settings.

You can specify exactly where the center of the blur effect is. I'm going to move mine, not that far down and not that far to the right, closure to -- why don't we once again center it on the eyes since I know those coordinates, 1089 and 522. You can go ahead and Tab from one value to another, which is really great. Notice sometimes you're going to see some flashing of the preview, and that's going to be based on what's going on with your video card. So if your video card has a lot going on, it may end up flashing a little bit, but it should settle down. So you can change the amount of your blur in real time.

The Radius of influence is how much of the image going out from the Center point is being affected. So if you want the entire image to be affected, then you would increase the heck out of your Radius of influence. But note that you are leaving transparency in your wake. All right, we'll come back to that one in just a moment. Then we've got TubeView, which is great for your James Bond effects, of course. So I'll go ahead and change again, the Center point to 1089 and 522. Then we can change the Background color, this is very interesting, 0, 1, 2, 3, when you see that, typically what it means is Red, Green, Blue, Transparency, because you're working in that 32-bit space here. So you can control your alpha channel information at the same time.

So, for example, if I wanted to make my image like blood red, of course, because this frog is a killer man! Then I would go with a high 0 value and these are going to be measured from 0 to 1, incidentally. So they're normalized values for what that's worth. I take down my Green value and leave my Blue value down as well. If I wanted Transparency, I would take down that 3 value right there, but I wanted to stay nice and opaque. Then we have Edge fade option, so we can do this number right there. You also have Distance fade so that I can just introduce a little bit of the Red on the outside. Then we have some Radius control, like so, it's pretty cool. Let's see, what was I looking at, something more along the lines of this. Then Turbulence changes the twirl that's going around the frog.

So a value of 0 is going to give you less twirl, a value of -3 is going to give you a clockwise rotation. You can also get a counterclockwise twirl by going with the positive value. Then finally, we've got Twirl right here, which applies a pond ripple to the image. You can goof around with that to your heart's content. You also have the ability to make it a Gaussian sort of Twirl, in which case, by the way, if you're going to do that, you have to increase the Radius, like so. There it goes. Nice animation function right there, or you can go with the Sinc style. Those are your only options, 0 or 1. So you either Gaussian at 0 or Sinc at 1. So you get an idea of just how wacky these things are and you just sort of have to be a little bit clairvoyant to come to terms with them.

So we were saying that there are two that we're going to come back to. One is Kaleidoscope and the other is RippleBlocks. We'll discuss RippleBlocks first, starting in the next exercise.

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This video is part of

Image for Photoshop CS4 One-on-One: Mastery
Photoshop CS4 One-on-One: Mastery

147 video lessons · 27712 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 21m 17s
    1. Welcome
      1m 21s
    2. Installing the DekeKeys keyboard shortcuts
      5m 38s
    3. Resetting the Function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 34s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
      51s
    2. Introducing color range
      4m 22s
    3. Adding base colors and adjusting fuzziness
      4m 46s
    4. Localized color clusters
      6m 12s
    5. The Quick Mask mode
      7m 33s
    6. Viewing a quick mask by itself
      6m 40s
    7. Testing the quality of edges
      3m 55s
    8. Introducing the Masks palette
      7m 45s
    9. Editing a layer mask
      6m 18s
    10. Choking a mask with Gaussian Blur and Levels
      6m 44s
    11. Choking a mask with Mask Edge
      7m 43s
    12. Adding a Gradient Overlay shadow
      4m 23s
    13. Using live Density and Feather
      6m 12s
    14. Journeyman masking
      5m 44s
    15. Creating an alpha channel
      7m 6s
    16. Increasing contrast
      7m 15s
    17. Overlay painting
      8m 28s
    18. Cleaning up whites and blacks
      5m 48s
    19. Soft light painting
      5m 47s
    20. Selecting in style
      6m 55s
    21. Employing masks as selections
      5m 2s
    22. Scaling and compositing layers
      6m 30s
    23. Compositing glass
      5m 10s
    24. Selecting glass highlights
      8m 41s
    25. Working with found masks
      5m 46s
  3. 1h 34m
    1. Introduction to vector-based shapes
      1m 10s
    2. Vector-based type outlines
      7m 23s
    3. The benefits of vectors
      6m 27s
    4. Upsampling vs. nondestructive scaling
      7m 35s
    5. Vectors and effects
      8m 7s
    6. Fill Opacity and clipped layers
      4m 24s
    7. Basic shape creation
      3m 15s
    8. Drawing interacting shapes
      6m 21s
    9. Power-duplicating paths
      3m 12s
    10. Combining pixels and vector masks
      5m 19s
    11. Line tool and layer attributes
      7m 5s
    12. Copying and pasting path outlines
      3m 28s
    13. Drawing custom shapes
      3m 59s
    14. Drawing with the Pen tool
      7m 48s
    15. Creating cusp points
      7m 28s
    16. Defining a custom shape
      3m 34s
    17. Assigning a vector mask to an image
      2m 38s
    18. Adding a vector object to a composition
      5m 40s
  4. 1h 23m
    1. Introduction to Vanishing Point
      1m 11s
    2. Creating and saving the first plane
      8m 9s
    3. Creating perpendicular planes
      5m 16s
    4. Healing in perspective
      8m 47s
    5. Cloning and scaling in perspective
      8m 33s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 34s
    8. Importing an image into a 3D scene
      5m 45s
    9. Adding perspective type
      5m 37s
    10. Removing and matching perspective
      5m 36s
    11. Applying a reflection in perspective
      5m 1s
    12. Creating a perspective gradient
      6m 11s
    13. Converting a gradient to a mask
      2m 58s
    14. Swinging planes to custom angles
      4m 32s
    15. Wrapping art around multiple surfaces
      5m 49s
  5. 1h 15m
    1. Introduction to Smart Objects
      58s
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 7s
    5. Editing a Smart Object in Illustrator
      6m 50s
    6. Converting an image to a Smart Object
      6m 50s
    7. Cloning Smart Objects
      5m 24s
    8. Creating a multilayer Smart Object
      5m 51s
    9. Updating multiple instances at once
      2m 54s
    10. Creating a Camera Raw Smart Object
      4m 17s
    11. Editing a Camera Raw Smart Object
      3m 25s
    12. Assembling a layered ACR composition
      5m 54s
    13. Using an ACR Smart Object to effect
      3m 41s
    14. Blending multiple ACR portraits
      6m 56s
    15. Live type that inverts everything behind it
      6m 32s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
      46s
    2. Applying a Smart Filter
      4m 22s
    3. Adjusting filter and blend settings
      4m 25s
    4. Heaping on the Smart Filters
      5m 19s
    5. Smart Filter stacking order
      7m 23s
    6. Resolution and Smart Filter radius
      6m 12s
    7. Masking Smart Filters
      4m 41s
    8. Employing nested Smart Objects
      5m 5s
    9. Dragging and dropping Smart Filters
      6m 31s
    10. Using the Shadows/Highlights filter
      5m 53s
    11. Regaining access to the pixels
      7m 8s
    12. Parametric wonderland
      5m 52s
    13. Working with the Filter Gallery
      6m 28s
    14. Freeform filter jam
      5m 51s
    15. Swapping filters from the Filter Gallery
      3m 45s
    16. Mixing all varieties of parametric effects
      7m 30s
    17. Addressing a few Smart Filter bugs
      3m 11s
    18. Applying a Smart Filter to live type
      5m 30s
    19. Choking letters with Maximum
      3m 7s
    20. Duplicating a Smart Filter
      2m 38s
    21. Enhancing a filter with a layer effect
      6m 30s
  7. 1h 6m
    1. Introduction to Auto-Align, Auto-Blend, and Photomerge
      1m 2s
    2. Merging two shots into one
      3m 49s
    3. Applying Auto-Align layers
      3m 44s
    4. Masking images into a common scene
      1m 38s
    5. Auto-Align plus Auto-Blend
      8m 11s
    6. Assigning weighted Opacity values
      4m 7s
    7. Employing a Difference mask
      7m 17s
    8. Masking smarter, not harder
      3m 53s
    9. Capturing multiple depths of field
      3m 37s
    10. Auto-blending real focus
      8m 31s
    11. Creating a panorama with Photomerge
      7m 27s
    12. Correcting a seamless panorama
      4m 52s
    13. An altogether nondestructive Lab correction
      7m 59s
  8. 1h 44m
    1. Introduction to new CS4 technologies
      1m 1s
    2. Applying Content-Aware Scale
      7m 18s
    3. What works and what doesn't with Content-Aware Scale
      4m 19s
    4. Protecting areas with masks
      7m 31s
    5. Applying incremental edits
      7m 6s
    6. Protecting skin tones
      7m 12s
    7. Scaling around a model with TLC
      9m 0s
    8. Adjusting the scale threshold
      5m 22s
    9. When Content-Aware Scale fails
      4m 2s
    10. Creating a lens distortion effect
      8m 39s
    11. Layer masking the family
      11m 44s
    12. Installing the Pixel Bender
      3m 42s
    13. Introducing Pixel Bender kernels
      6m 50s
    14. Pixel Bender kernel roundup
      7m 24s
    15. Tube View and Ripple Blocks
      3m 58s
    16. Making a seamless pattern with Kaleidoscope
      6m 13s
    17. Introducing the Pixel Bender Toolkit
      3m 24s
  9. 1h 20m
    1. Introduction to actions
      42s
    2. Creating an action
      5m 45s
    3. Recording operations
      5m 12s
    4. Reviewing and editing an action
      4m 45s
    5. Playing an action (the Button Mode)
      4m 50s
    6. Saving and loading actions
      5m 0s
    7. Copying and modifying an action
      4m 8s
    8. Permitting the user to change settings
      5m 50s
    9. The Best Chrome Effect Ever II
      3m 41s
    10. Recording a fail-safe action
      7m 33s
    11. Rounding corners with a mask
      4m 33s
    12. Cleaning up layers
      3m 51s
    13. Automating layer effects
      7m 1s
    14. Applying chrome with Gradient Map
      6m 24s
    15. Action anomalies
      4m 11s
    16. Rendering effects to layers
      5m 1s
    17. Testing that it works
      2m 0s
  10. 1m 14s
    1. See ya
      1m 14s

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