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Rotating and stretching

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Rotating and stretching

In this exercise, I am going to show you one of the simplest but most gratifying applications of layer masks and that is the unidirectional Motion Blur. Basically if you're familiar with the Motion Blur filter inside of Photoshop, which is what we'll be using eventually here, you probably know that it's a bidirectional effect, meaning that it blurs the image in two opposing directions. But what we want is we want basically a jet of blur coming off of this jet right here. So we want a unidirectional effect and we're going to create that unidirectional effect using a layer mask. As I say, a very simple layer mask of that.

Rotating and stretching

In this exercise, I am going to show you one of the simplest but most gratifying applications of layer masks and that is the unidirectional Motion Blur. Basically if you're familiar with the Motion Blur filter inside of Photoshop, which is what we'll be using eventually here, you probably know that it's a bidirectional effect, meaning that it blurs the image in two opposing directions. But what we want is we want basically a jet of blur coming off of this jet right here. So we want a unidirectional effect and we're going to create that unidirectional effect using a layer mask. As I say, a very simple layer mask of that.

So I would like you to open this image here. It's called Jet on blue sky.jpg, it's found inside of the 11 layer masks folder. It comes to us from photographer Christoph Ermel, and this plane is obviously at an angle. Now one of the things that I suggest you do is to go ahead and rotate the plane so that it's upright, because it's just easier to gauge if your Motion Blur is on the right axis or not, if you're working with an upright image in the first place. Then we'll rotate it back in place later.

So first things first, let's go ahead and convert this plane to an independent layer by double-clicking on it, double-clicking on the background layer that is inside of the Layers palette, and let's call this new layer plane, then we'll click OK, and the deed is done. Now we have an independent layer, an independent floating layer that has the plane on it. Next, we're going to go ahead and rotate it so that it's completely altogether upright and we're going to do that using the Ruler tool. Go ahead and grab the Ruler tool from the Eyedropper tool fly-out menu, and I am going to drag from the nose of the plane right there all the way down to this part of the tail, don't drag to here, drag to here instead, this corner right there. That will give you the exact axis of the jet.

Notice it's telling us that the axis is 48.2 degrees or rather -48.2 degrees, we don't really care. I am going to go up to the Image menu, choose the Rotate Canvas command and then choose Arbitrary or you can press that keyboard shortcut that I've given you, which is Ctrl+Shift+Alt+R for Rotate or Cmd+Shift+R on the Mac, and Photoshop will go ahead and automatically load that value, that angle value right there. Even though it's not the same value, this is the value that needs to be used as we'll see. Go ahead and click OK to accept its wisdom here, to accept its default setting. That's going to go ahead and rotate the plane so that it's going straight up in the air. We want it to be horizontal, so the next step is to go to the Image menu. Choose Rotate Canvas and then choose Rotate 900 CCW, which is Counter Clock Wise or you can press once again my keyboard shortcut that I included along with my Deke keys, if you loaded those back in the Preface, which is Ctrl+Shift+Alt +[ or Cmd+Shift+Alt+[ on the Mac.

Anyway, choose the command and there it is. It's all rotated nice and horizontally there. If you want to confirm, you could bring up your rulers by pressing Ctrl+R or Command+R on a Mac and then drag out a guideline, just to make sure that your jet is exactly horizontal, which in my case it is. So I am going to undo that guideline, I don't really want that in my image. Press Command or Ctrl+R once again to get rid of the rulers. We want to create the Motion Blur and we're going to do that by using a jumped version of the image. So let's go ahead and zoom out a little here. I am going to suggest just to give ourselves a little wiggled room that we add to the canvas. So let's add a little room over here on the left side of the canvas by going up to the Image menu and choosing the Canvas Size command. I am going to go ahead and add, I've got, notice my relative checkbox is turned on, I am going to go ahead and add about 300 pixels over on the left-hand side, so I'll click on this right-hand chiclet in order to make sure that we're expanding to the left. Then I'll click OK in order to accept that modification.

The next step is to jump the image, so let's press Ctrl+Alt+J or Command+Option+J on the Mac and we'll call this new layer blur and then click OK in order to create it. Now the thing with Motion Blur is because it's a bidirectional effect, it blurs not only outward but also inward, which means it has the effect of making, if we were to just apply it to the plane right now. It would have the effect of making the plane look smaller. We want to enlarge the plane; we want to stretch it before we apply Motion Blur to it.

So let's go ahead and do the stretch by going up to the Edit menu and choosing the Free Transform command or that would be Ctrl+T, if you're on the PC you are Command+T on the Mac. Now I am going to go ahead and Alt+Drag this side handle here, that would be an Option+Drag on the Mac in order to stretch it in both directions. And you know what I really need to see what I am doing here. So I am going to change the Opacity of my layer, I need to be able to compare the stretch version of the plane to the original version, so I am going to change the Opacity of the this blur layer to 50%. Now you can't do it by just pressing the 5 key when you are in the Free Transform mode, instead you actually have to go over here to the Opacity value and change it to 50%. So that's what I am going to do. And now I can see both, in fact it's half-transparent, half-opaque.

Notice now that I've stretched the plane a little bit actually, and by the way, I also need a little bit more room to the sides to work here. So I am going to go ahead and switch to the Full Screen mode. Again, you've got to choose that manually from this little icon down here at the bottom of the toolbox, you can't just press the F key. So I am going to switch this Full Screen mode with menu bar, that guy right there, that gives me more room to work. I am going to Alt+Drag the plane further in order to stretch it in both directions away from that center point actually. Now let's go ahead and drag the plane over. Now you can see that it's kind of at the wrong angle, now I am stretching the wings at a different angle than they were before. So we've got to fix that. And here's how I suggest we fix it. First, make sure that you get one of these corners of the wing in exactly the right place. So I am suggesting this guy gets locked in the position right there.

Then, go ahead and grab that center point of your transformation, we're still working inside the Free Transform mode and move it over to there, so that becomes the anchor point for the skew that we're about to apply. Now I am going to zoom out actually quite a bit and I am going to scroll down, hopefully we'll avoid an auto-scroll here, because they're pretty pesky at times. I am going to press the Ctrl and Alt keys or the Command and Option keys on the Mac and drag that top point right there, and actually I'll press the Shift key as well so that I am performing a just strictly horizontal skew.

So again, the keys that I have down are basically all of them. I have Ctrl+Shift+Alt+Down or Cmd+Shift+ Option+Down on the Mac as I drag this top point and that way we're skewing because the Ctrl key is down, we're skewing exclusively horizontally because the Shift key is down, and we're skewing with respect to this anchor point right here, this transformation origin point as it's called, because we have the Alt or Option key down. That's what's going on. All right. Well, that looks pretty good to me. We could still stretch it further if we wanted to, depending on how much tail you want to have flying off the back of the jet there, you could continue to stretch that a little bit if you want to. So you can be as radical as you want. Just every time you stretch you're going to have to go back there and skew again as well. So I'll do a little more skewing in order to make sure those wings are aligned.

And that's good! I like what I see; I am going to go ahead and press the Enter key or the Return key on the Mac in order to accept that transformation. Now I am going to restore the Opacity of my plane to 100% here. We are now ready to apply the Motion Blur filter and eventually, apply the layer mask as well and we will do both of those things in the very next exercise.

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This video is part of

Image for Photoshop CS3 Channels & Masks: Advanced Techniques
Photoshop CS3 Channels & Masks: Advanced Techniques

190 video lessons · 26572 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2h 13m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 10s
    4. Luminance blending
      8m 40s
    5. Forcing the visibility of underlying layers
      4m 4s
    6. Adjusting the appearance of clipped layers
      4m 34s
    7. Selecting a Blend If channel
      6m 12s
    8. Enhancing highlights by hiding them
      5m 9s
    9. Smart Object first, layer mask second
      7m 22s
    10. The Fill Opacity Eight
      4m 30s
    11. Blending Smart Filters
      7m 24s
    12. Cleaning up edges
      7m 39s
    13. More fun with luminance blending
      6m 22s
    14. A first peek at the Calculations command
      12m 11s
    15. Masking a softly focused model
      11m 46s
    16. Moving layers and masks between images
      7m 35s
    17. Matching colors
      9m 13s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 50s
  2. 2h 33m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 18s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 3s
    6. Masking an adjustment layer
      6m 37s
    7. Creating two windows into an image
      7m 42s
    8. Whitening teeth and adding other highlights
      3m 46s
    9. Mapping a texture onto an image
      4m 1s
    10. Isolating a texture with a layer mask
      6m 44s
    11. Welcome to the glass composition
      3m 18s
    12. Balancing shadows and highlights
      5m 51s
    13. Masking the glass
      7m 24s
    14. Masking the text
      9m 23s
    15. Adding and blending the goldfish
      8m 45s
    16. Assembling the perfect group photo
      5m 12s
    17. Aligning photographs automatically
      5m 26s
    18. Masking in each person's best shot
      5m 18s
    19. Masking densely packed people
      6m 17s
    20. Crafting the perfect final poster
      5m 16s
    21. From the improbable to the impossible
      1m 56s
    22. The fantastical "world of clones" effect
      10m 0s
    23. Upsampling and blurring a background
      8m 39s
    24. Adding a knockout mask
      8m 3s
    25. Choking edges with Gaussian Blur and Levels
      3m 46s
  3. 2h 27m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 22s
    3. Brightening and neutralizing the eyes
      8m 22s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 4s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      6m 0s
    9. Refining the color mask
      6m 40s
    10. Adjusting the edges around fabric
      7m 56s
    11. Perfecting hair
      9m 35s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 48s
    14. Adjusting the knockout depth
      8m 48s
    15. Fashioning a depth map
      6m 12s
    16. Invoking a depth mask from Lens Blur
      6m 38s
    17. The perfect depth-of-field effect
      6m 25s
    18. Sharpening an archival photograph
      7m 7s
    19. Creating an edge mask
      8m 29s
    20. Making a High Pass sandwich
      7m 46s
    21. Applying the edge mask
      6m 2s
    22. Customizing your sharpening effect
      4m 6s
  4. 2h 3m
    1. Channel Mixer, I am your father!
      1m 39s
    2. Three ways to gray
      7m 49s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 10s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 1s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 43s
    9. Taking shadows to the brink of black
      3m 56s
    10. Elevating highlights, leeching saturation
      5m 58s
    11. Deepening a black-and-white sky
      5m 49s
    12. Infusing luminance levels with color
      5m 44s
    13. Creating an opposing colorization scheme
      4m 58s
    14. Bolstering contrast with the Green channel
      5m 37s
    15. A tiny improvement to a terrific technique
      7m 39s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 18s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 9s
    20. Making pupils match
      4m 8s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 37s
    2. The Calculations command
      8m 16s
    3. Blue Screen blending
      7m 40s
    4. Refining the Blue Screen mask
      5m 53s
    5. Brushing away color fringing
      7m 24s
    6. Locking the transparency of a layer
      6m 22s
    7. Nondestructive layer painting
      7m 36s
    8. How the Add blend mode works
      8m 40s
    9. How the Subtract blend mode works
      6m 43s
    10. Focus, noise, and other masking challenges
      5m 33s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 25s
    13. Comparing two channels with Difference
      5m 24s
    14. Enhancing the contrast with Curves
      9m 11s
    15. Gathering details with Apply Image
      9m 43s
    16. Dodge highlights, burn shadows
      6m 6s
    17. Dodge and Burn in action
      8m 24s
    18. Painting in the scalp
      10m 1s
    19. Painting away the face and chin
      4m 53s
    20. Compositing complementary images
      4m 13s
    21. Multiply, Minimum, Blur, and Apply Image
      6m 40s
    22. Crafting the final composition
      7m 7s
  6. 1h 57m
    1. Mark of the Pen tool
      1m 35s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 25s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 15s
    7. Adding and deleting interior points
      6m 6s
    8. Converting a path to a selection
      3m 35s
    9. Converting a path to a mask
      6m 38s
    10. Smooth points and control handles
      8m 57s
    11. Making cusp points
      6m 0s
    12. Combining paths in a vector mask
      7m 55s
    13. Turning a path into a shape layer
      8m 57s
    14. Combining paths to make a layer mask
      7m 52s
    15. Mixing layer and vector masks
      10m 14s
    16. Editing character outlines as paths
      8m 39s
    17. Using the Convert Point tool
      7m 8s
  7. 3h 17m
    1. Where there's a will, there's a way
      1m 18s
    2. Masking natural cast shadows
      4m 10s
    3. Applying the cast show
      4m 2s
    4. Creating a difference mask
      3m 7s
    5. Applying an arbitrary map
      3m 50s
    6. Making the flesh mask
      7m 17s
    7. Roughing in an object mask
      6m 49s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 53s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 9s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 55s
    16. Merging the best of two Levels iterations
      4m 4s
    17. More fun with Dodge and Burn
      6m 14s
    18. Fixing edges with the Pen and Stamp tools
      7m 29s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 43s
    21. Building the flame mask
      9m 22s
    22. Amplifying the flame
      3m 53s
    23. Masking an image against a busy background
      5m 15s
    24. The Freeform and Magnetic Pen tools
      6m 52s
    25. Masking with arbitrary maps
      9m 32s
    26. A more deliberate approach to arb maps
      10m 51s
    27. Combining arb maps with paths
      9m 28s
    28. Masking with the help of the History brush
      11m 38s
    29. Creating a High Pass mask
      7m 25s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 29s
    32. Subtracting and merging the beak
      11m 6s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 50s
    2. Scanning line art in 8-bit and 16-bit
      5m 9s
    3. Measuring the 16-bit difference
      8m 9s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 13s
    6. Editing in Camera Raw, opening in 16-bit
      8m 22s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 18s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      6m 0s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 25s
    13. Modifying a layer mask in 32-bit
      4m 56s
    14. Converting to and correcting in 16-bit Lab
      12m 7s
  9. 2h 8m
    1. Photoshop flirts with the third dimension
      1m 13s
    2. The displacement map
      8m 24s
    3. Making custom waves
      7m 14s
    4. Creating a Gaussian distribution
      4m 32s
    5. Using a two-channel displacement map
      6m 28s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 34s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 7s
    10. Dipping the moon into the water
      6m 18s
    11. Turning flesh into stone
      7m 55s
    12. Wrapping the stone around the face
      7m 27s
    13. Softening a displacement map
      8m 5s
    14. Making a repeating watermark pattern
      9m 22s
    15. 3D embossing with Lighting Effects
      10m 48s
    16. The amazing credit card type effect
      6m 56s
    17. Lightening the credit card letters
      6m 16s
    18. Wrapping the background around the text
      6m 27s
  10. 1m 43s
    1. Goodbye
      1m 43s

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