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Photoshop CS5 One-on-One: Advanced
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Saving large poster art


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Photoshop CS5 One-on-One: Advanced

with Deke McClelland

Video: Saving large poster art

All right, at the risk of overstaying my welcome here, I had promised those of you who are not planning on sending your files out for commercial reproduction, and you don't have access to a PostScript output device. What do you do if you want to expand the size of this file, and let's say you want to print it as a piece of poster art? And by the way this works not only for your posters, but your billboards and your big huge images that you want to plaster on the side of a bus and all of that big huge artwork. What do you do in that case? Well, you do, like so.
Expand all | Collapse all
  1. 40m 2s
    1. Welcome
      2m 1s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 6s
  2. 1h 5m
    1. What you can do with Photoshop
      1m 46s
    2. The mission-critical eyes
      2m 44s
    3. Copy Merged and Paste in Place
      6m 52s
    4. Sharpening details to match
      4m 34s
    5. Masking eyes
      9m 22s
    6. Working with clipping-mask layers
      9m 5s
    7. Shading with layer effects
      8m 10s
    8. Color and highlight effects
      4m 2s
    9. Refining layer masks
      5m 43s
    10. Fabricating the highlights in the pupils
      7m 33s
    11. Using a merged copy to sharpen
      5m 34s
  3. 2h 14m
    1. Highlights, shadows, and midtones
      1m 16s
    2. Introducing the Auto commands
      7m 23s
    3. Adjusting Cache Level settings
      6m 8s
    4. Reading a channel-by-channel histogram
      6m 21s
    5. How the Auto commands work
      5m 22s
    6. Auto Tone, Auto Contrast, and Auto Color
      7m 7s
    7. Blending the Auto results
      4m 4s
    8. Introducing the Levels command
      6m 15s
    9. Using Levels as an adjustment layer
      3m 12s
    10. Applying custom Levels adjustments
      6m 8s
    11. Understanding the gamma value
      7m 39s
    12. The futility of Output Levels
      2m 56s
    13. Selections and adjustment layers
      5m 48s
    14. Opening up the shadows
      3m 40s
    15. Previewing clipped pixels
      4m 51s
    16. The black, white, and gray eyedroppers
      5m 7s
    17. Gray card tips and tricks
      6m 5s
    18. Making channel-by-channel adjustments
      7m 29s
    19. Introducing the Curves command
      7m 44s
    20. Curves dialog box tricks
      7m 16s
    21. Curves adjustment layer tricks
      5m 45s
    22. Correcting an image with Curves
      5m 32s
    23. Filling in the highlights
      5m 42s
    24. Neutralizing casts and smoothing transitions
      5m 37s
  4. 1h 46m
    1. The art of enhancing edges
      1m 26s
    2. How sharpening works
      6m 2s
    3. The single-shot sharpeners
      6m 7s
    4. Introducing Unsharp Mask
      6m 19s
    5. Radius and Threshold
      6m 24s
    6. Sharpening colors vs. luminosity
      5m 56s
    7. Gauging the ideal settings
      8m 59s
    8. Unsharp Mask vs. Smart Sharpen
      7m 1s
    9. Using the Remove settings
      9m 30s
    10. The More Accurate checkbox
      6m 8s
    11. Saving your Smart Filter settings
      5m 31s
    12. The Advanced sharpening settings
      7m 52s
    13. Accounting for camera shake
      6m 18s
    14. Sharpening with the Emboss filter
      6m 43s
    15. Sharpening with High Pass
      9m 23s
    16. The new and improved Sharpen tool
      6m 22s
  5. 1h 34m
    1. Edge's evil twin: noise
      1m 12s
    2. Color vs. luminance noise
      7m 21s
    3. Reducing color noise
      7m 45s
    4. Reducing luminance noise
      4m 59s
    5. Relegating an effect to the shadows
      6m 27s
    6. Switching between layer and mask
      6m 59s
    7. The Dust & Scratches filter
      4m 56s
    8. Adjusting shadow saturation
      5m 52s
    9. Combining High Pass with Lens Blur
      6m 57s
    10. Masking a layer of Lens Blur
      7m 34s
    11. Painting away High Pass sharpening
      8m 22s
    12. Building up a noise pattern
      6m 40s
    13. Converting noise to texture
      4m 24s
    14. Bleeding colors into paper
      6m 16s
    15. Matching different noise levels
      8m 31s
  6. 1h 32m
    1. We are the stuff of light
      1m 24s
    2. Applying automatic lens correction
      5m 53s
    3. Introducing Shadows/Highlights
      3m 44s
    4. Shadows/Highlights in depth
      7m 59s
    5. Creating a "bounce" with Gaussian Blur
      4m 43s
    6. Sharpening on top of blur
      7m 3s
    7. Sharpening the merged composition
      6m 16s
    8. Grouping and masking layers
      5m 40s
    9. Adjusting the density of a mask
      7m 14s
    10. Creating a Shadows/Highlights shortcut
      5m 47s
    11. Restoring detail with Shadows/Highlights
      6m 23s
    12. Changing the Shadows/Highlights defaults
      6m 21s
    13. Smoothing skin details with Gaussian Blur
      3m 56s
    14. Smoothing with High Pass
      5m 44s
    15. Lowering contrast with Gaussian Blur
      7m 4s
    16. Inverting a sharpening effect
      7m 5s
  7. 2h 32m
    1. Color becomes monochrome
      1m 31s
    2. Converting an image to grayscale
      6m 49s
    3. Extracting luminance information
      7m 37s
    4. Introducing the Channel Mixer
      10m 23s
    5. Aggressive channel mixing
      9m 42s
    6. Proofing CMYK colors
      7m 49s
    7. Color settings and intent
      7m 6s
    8. Practical Channel Mixer variations
      4m 30s
    9. Saving variations as layer comps
      7m 57s
    10. The default grayscale recipe
      8m 55s
    11. Creating a custom black-and-white mix
      6m 59s
    12. Shadows/Highlights in black and white
      4m 58s
    13. Introducing the Black & White command
      5m 55s
    14. Adjusting Black & White settings
      9m 39s
    15. Mixing a Black & White portrait
      6m 32s
    16. Black & White vs. Channel Mixer
      9m 21s
    17. Adding tint and color
      8m 0s
    18. Introducing the Gradient Map
      7m 10s
    19. Loading custom gradients
      4m 32s
    20. Editing gradient color stops
      9m 58s
    21. Colorizing with blend modes and Opacity
      7m 13s
  8. 2h 10m
    1. Two great commands working great together
      1m 18s
    2. Introducing the Color Range command
      5m 13s
    3. Setting key colors and Fuzziness
      5m 38s
    4. Predefined vs. sampled colors
      3m 57s
    5. The Localized Color Clusters option
      5m 41s
    6. Defining a selection with care
      4m 44s
    7. Introducing the Quick Mask mode
      5m 20s
    8. Testing edges with the Magic Wand
      5m 14s
    9. Hand-brushing a selection
      5m 39s
    10. Saving and loading an alpha channel
      4m 35s
    11. Converting a selection to a layer mask
      2m 46s
    12. Switching between an image and a layer mask
      6m 58s
    13. Protecting elements with a layer mask
      8m 5s
    14. Duplicating and editing a layer mask
      7m 34s
    15. Introducing the Refine Edge command
      4m 46s
    16. Accessing the various Refine Edge options
      5m 35s
    17. Refine Edge's preview options
      6m 21s
    18. The Adjust Edge values
      4m 11s
    19. Edge Detection and Smart Radius
      6m 5s
    20. Using the Refine Radius tool
      8m 8s
    21. Using the Decontaminate Colors option
      7m 30s
    22. Old-school masking adjustments
      7m 7s
    23. Four micro mask adjustments
      8m 33s
  9. 3h 13m
    1. Photoshop's vector exceptions
      1m 11s
    2. Making text in Photoshop
      6m 18s
    3. Creating and editing a text layer
      6m 56s
    4. Font and type style
      7m 35s
    5. Type size and color
      7m 52s
    6. Combining layer effects and type
      10m 57s
    7. Drawing a custom shape layer
      8m 34s
    8. Side bearing, kerning, and tracking
      10m 36s
    9. Point text vs. area text
      8m 26s
    10. Selecting and formatting a paragraph
      5m 19s
    11. Copying and pasting unformatted text
      7m 45s
    12. Creating text inside a custom path
      6m 26s
    13. Creating text along a path
      8m 13s
    14. Adjusting baseline shift
      6m 16s
    15. Drawing a fading arrowhead
      7m 29s
    16. Fading a shadow with a layer
      5m 32s
    17. Logo creation and Fill Opacity
      7m 44s
    18. Stretching a background element
      6m 9s
    19. Drawing with shape outlines
      6m 18s
    20. Combining vector-based shapes
      6m 42s
    21. Masking vector-based shape layers
      6m 7s
    22. Correcting spacing problems
      7m 44s
    23. Drawing the ultimate specular sparkle
      8m 45s
    24. Preparing text for commercial output
      5m 9s
    25. Saving a high-resolution PDF file
      7m 11s
    26. Inspecting the final PDF document
      7m 8s
    27. Saving large poster art
      9m 32s
  10. 2h 36m
    1. What filters ought to be
      1m 25s
    2. Layer effects vs. filters
      6m 14s
    3. Carving with an Inner Shadow effect
      7m 45s
    4. Selling an effect with Drop Shadow
      7m 17s
    5. Creating blurry shadow type
      5m 30s
    6. Saving custom default settings
      6m 22s
    7. Creating a custom contour
      7m 3s
    8. Introducing Bevel and Emboss
      7m 35s
    9. Adjusting Angle and Altitude
      7m 8s
    10. Exploiting global light
      8m 11s
    11. Gloss and edge contour
      5m 8s
    12. Applying and creating layer styles
      6m 45s
    13. Loading, saving, and merging styles
      6m 17s
    14. Creating a textured bevel effect
      6m 56s
    15. Using shadows as highlights
      7m 39s
    16. Combining filters and effects
      6m 58s
    17. Working with random effects
      6m 55s
    18. Smoothing with Gaussian Blur and Levels
      6m 13s
    19. Masking blacks from whites
      4m 37s
    20. Applying liquid styles
      4m 36s
    21. Simulating liquid reflections
      8m 12s
    22. Finessing and cropping a liquid effect
      7m 25s
    23. Initiating a displacement map
      6m 17s
    24. Applying a displacement map
      7m 37s
  11. 1h 12m
    1. Two words: Free Transform
      34s
    2. Scale, rotate, and constrain
      6m 30s
    3. Using the transformation origin
      7m 42s
    4. Applying a slant (aka skew)
      3m 37s
    5. The four-point "perspective" distortion
      7m 51s
    6. Two ways to make gradient text
      5m 59s
    7. Building complexity from a simple shape
      4m 42s
    8. Duplicating a series of transformations
      6m 3s
    9. Rasterizing a layer with its effects
      6m 41s
    10. Applying a custom warp
      7m 24s
    11. Blending and softening a warped layer
      4m 39s
    12. Creating spherical highlights
      6m 30s
    13. Using a center-source inner glow
      3m 51s
  12. 2h 42m
    1. Distorting reality
      1m 33s
    2. Extracting a foreground element
      6m 45s
    3. Introducing the Puppet Warp command
      7m 20s
    4. Setting and manipulating pins
      7m 48s
    5. Rotating pins and switching warp modes
      6m 41s
    6. Expanding and contracting the mesh
      6m 11s
    7. Changing the Density setting
      8m 0s
    8. Adjusting the pin depth
      5m 18s
    9. Winding an image into a pretzel
      6m 2s
    10. Applying Puppet Warp to type
      6m 30s
    11. Warping single characters
      6m 25s
    12. Editing puppet-warped text
      8m 24s
    13. Extending an image with Free Transform
      8m 46s
    14. Extracting from a white background
      10m 5s
    15. Tracing a shape with Puppet Warp
      9m 1s
    16. Introducing the Liquify command
      5m 4s
    17. Warp, Twirl, Pucker, and Bloat
      8m 53s
    18. Saving and loading a mesh
      5m 59s
    19. Push, Mirror, and Turbulence
      11m 49s
    20. Lifting and slimming details
      8m 22s
    21. Warping fabric, arms, and legs
      7m 1s
    22. Masking and finessing the results
      10m 8s
  13. 3h 3m
    1. Welcome to the digital darkroom
      1m 44s
    2. Introducing Camera Raw
      7m 40s
    3. Adjusting white balance
      7m 0s
    4. Selecting and synchronizing images
      6m 9s
    5. Making automatic adjustments and saving changes
      7m 19s
    6. Creating and managing snapshots
      8m 23s
    7. Adjusting the Exposure value
      6m 24s
    8. Working with clipping warnings
      5m 5s
    9. Adjusting Brightness and Contrast
      7m 35s
    10. Vibrance, Saturation, and Clarity
      9m 25s
    11. Recovery and Fill Light
      6m 57s
    12. Using the Graduated Filter tool
      7m 2s
    13. Painting edits with the Adjustment Brush
      9m 44s
    14. Straighten, crop, and geometric distortions
      7m 49s
    15. Applying manual lens corrections
      7m 19s
    16. Vignette and chromatic aberrations
      6m 21s
    17. Introducing the Tone Curves
      6m 9s
    18. Parametric curves and targeted adjustments
      6m 26s
    19. Correcting a low-noise photograph
      7m 35s
    20. Sharpening and high-noise photos
      8m 25s
    21. Selective Hue/Saturation adjustments
      5m 34s
    22. Selective Luminance adjustments
      5m 39s
    23. Adding grain and vignetting effects
      5m 23s
    24. Mixing a subjective black-and-white image
      7m 53s
    25. Colorizing with the Split Toning options
      4m 29s
    26. Opening a raw image as a Smart Object
      5m 39s
    27. Camera Raw wrap-up
      8m 38s
  14. 55s
    1. Until next time
      55s

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Photoshop CS5 One-on-One: Advanced
26h 24m Intermediate Aug 13, 2010 Updated Aug 31, 2010

Viewers: in countries Watching now:

Photoshop CS5 One-on-One: Advanced, the second part of the popular and comprehensive series, updated for CS5, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.

Recommended prerequisite: Photoshop CS5 One-on-One: Fundamentals.

Topics include:
  • Using blend modes, adjustment layers, and layer styles
  • Organizing a layered composition so it is fluid and editable
  • Creating and editing type in Photoshop
  • Using blur effectively
  • Using adjustment layers to add color
  • Combining layers into a clipping mask
  • Working with Camera Raw
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Saving large poster art

All right, at the risk of overstaying my welcome here, I had promised those of you who are not planning on sending your files out for commercial reproduction, and you don't have access to a PostScript output device. What do you do if you want to expand the size of this file, and let's say you want to print it as a piece of poster art? And by the way this works not only for your posters, but your billboards and your big huge images that you want to plaster on the side of a bus and all of that big huge artwork. What do you do in that case? Well, you do, like so.

You go ahead and grab your Alternate ending.psd file and then you go up to the Image menu and you go ahead and choose the Image Size command or press Ctrl+Alt+I, Command+Option+I on the Mac, and this is very important that we go ahead and up sample. We're going to up sample this time around. We're up sampling from the layered version of the file. So this is going to be potentially a very time-consuming process depending on how far we up sample. We're going to go ahead and take this file size way up. I'm going to increase the width of my image from 7 3/4" and notice that the height is currently 10 3/4".

I'm going to raise that width value with 31 inches, which takes the height to 43 inches, and I'm going to increase the resolution to 300 pixels per inch. Now I could go even farther than that if I needed to. However, this is about as far as we want to push things if you want to see anything happen inside of this video. Otherwise it's going to take a very long time to render. But notice my pixel dimensions are going to leap from 13.7MB to 343.2MB. That's a 25 x increase. So in other words, we're quintupling the width of the file and quintupling the height of the file as well.

So the entire file is going to be 25 times its previous size. Now you definitely want to re-sample the image. That's imperative. You definitely want to constrain the proportions and you want to scale your styles too. Now you are going to want to check up on your layer effects if you were to really do this with one of your own files. You'd want to follow-up on your layer effects and make sure they all got scaled properly, because not everything necessarily scales away, it ought to, and there are certain maximums associated with the size of a drop shadow, for example, it can't grow beyond, I think it's 250 pixels.

So you'll have to look into those just to make sure they work. I would also recommend by the way depending on what your time constraint is, where the up sampling processes concerned. If you can wait a few minutes, if you walk away from your computer and come back, why then you can leave it set to bi-cubic. There's no reason by the way to change it to bi-cubic smoother, which is not best for enlargement and there's no reason to choose bi-cubic sharper either. Bi-cubic would just be in case you wanted to interpolate the pixels inside of your photographic images. However, in my case, I'm going to leave those pixels alone.

So I'm just going to grow every single pixel inside of my image to a 25-pixel block. That is five pixels wide by five pixels tall, and that's been work out just fine for our purposes. This interpolation setting has no effect on our editable text or our vector base shape outlines. So those layers will scale as vectors. Anyway, go ahead and choose Nearest Neighbor in our case. It will just speed things up, and click OK, and then notice that actually Photoshop is whipping through the progress here on this specific machine. On your machine it may end up going a little slower.

And then assuming that all of the layer effects have worked out, and the only layer effect that I'm actually concerned about is my pattern here. I just want to make sure that that pattern went ahead and scaled inside of 365, and let's just check. I actually don't know the answer to this question until I check it out. I went ahead and twirled open the 365 bunch here, and I will reveal the layer effects associated with the 365 layer; that is those numbers right there that we're seeing onscreen. And I'm going to double-click on Pattern Overlay, and it went ahead and scaled the pattern to 1000%.

Well, I believe I had scaled the pattern to 400% in the first place. So I would've hoped it would have taken it up to 2000%, because 400 times 5 not 25, just 5 for five times the width, five times the height. But apparently it maxes out at 1000%. So that's the best I'm going to do. Anyway, I'll cancel out. If that's the best I can do, that's the best I can do. And let's go ahead now and flatten the image, because we don't really need the layers all this big, do we? Think about it. We already have the PSD file that's got all the rich information, this alternate ending.psd file at whatever resolution it was set to.

The resolution was big enough to accommodate the image data. That's as much resolution as we need. Where the vector-based data is concerned, that's resolution independent, so we don't need to have this big ginormous layered file to accommodate all that information. We can go ahead and go up to the layer menu and choose the Flatten Image command or if you loaded my DekeKeys you can press Ctrl+Shift+Alt+F, Command+Shift+Option+F on the Mac. You'll be asked if you want to discard the hidden layers. Yes, they're hidden after all. They make no contribution to the flat version of the file. Photoshop's going to do its thing here, obviously, where it flattens the image.

So it's merging all of the various different layers and the layer affects and those vector-based outlines in order to calculate the new merged pixels inside the image, and then what you would do, as you go up to the File menu, choose the Save As command, not Save, because you'd overwrite your original image with its layers. That would be a bad thing. Choose the Save As command Ctrl+Shift+S, Command+Shift+S on the Mac, and I would recommend for this image that you go ahead and choose the TIFF format right there. And by the way, we don't need the need the Alpha Channel.

In fact, you know what, cancel out for a moment. We didn't get rid of the Alpha Channel. I'll go over to the Channels panel, and I'll grab this Alpha Channel and throw it in the trash, because all we have now where the Alpha Channel is concerned is a Nearest Neighbor Interpolation of that channel, which means we're just going to have big huge pixels. Once I zoom in to 100%, notice these big chunky pixels that I'm seeing. What's the point of keeping that around? Let's throw that away. We already have a good version of it inside of that original PSD file. We don't really need to pass either.

If you wanted to dispose off those guys you could, but they don't take up any space. So I'll go and zoom out once again a little bit, anyway, go up to the File menu, choose the Save As command, Ctrl+Shift+S, Command+Shift+S on a Mac and then switch to the TIFF file format, like so. And you may well wonder why didn't I just go ahead and turn off the Alpha Channels inside the dialog box instead of canceling out, going to the channels panel and manually throwing the channel away. Well, if I would have done that, then I would've saved a copy, then I would still be working inside of a file called Alternate ending.psd, which means if I did press Ctrl+S to update anything or Command+S on the Mac, then I would overwrite my original layers which would be a tragedy.

I want to make sure that I have a direct link between the file I'm working on and the file on disk. And I'm going to go and call this thing 31x 43x300ppi, and you may ask me, hey Deke, if you actually do that math, the size of our image is 31 inches wide. It was 7.75 inches wide before. 7.75 times 4 is 31, and 10.75 which was the height times 4 is 43. So why do you keep telling us it's five times the width and five-time the height, when it's only four times the width and four times the height? Well, we also scaled the resolution from 240 to 300 pixels per inch.

That also factors into the equation. All right, so I'm going to click the Save button in order to save off that ginormous TIFF file. Yes, I want LZW Image Compression definitely. Change it to LZW if it's set to none. Leave Pixel Order set to interleaved, leave Byte Orders set to whatever, IBM PC, Macintosh, doesn't matter, regardless of platform, click OK, and you will have saved off a TIFF version of that flattened high-resolution file. At least it's a very large file, and you can now print it as a piece of poster art, and once again, all that information looks just awesome.

This is 50% by the way. We're not zoomed all the way in, and the hair information is blending with that letter, just find the base of the U right there, and there are some more hair blending with the other side of the U. There are some hair blending in with the O, I believe and then down here, remember that little bit of highlight that I had left in. Oh, why don't we go and take care of that problem, because we are working on the pixels now. I'll grab my Lasso tool by pressing the L key, and I'll Alt+Click or Option+Click around this region just ever so gently like so, and I'll go up to the Select menu and choose Modify and choose Feather, and let's go ahead and give it 0.5 pixels of feather radius, just a tiny bit.

That looks a little bit too high. So I'm going to press the down arrow key to nudge it down, and then I'll press Ctrl+H, Command+H on the Mac to hide that selection for a moment. I'll grab my Burn tool right there. He should work out nicely, and I will increase the size of my cursor just a little bit. I've got a soft brush that's good, and I'll paint inside of that shadow in order to darken it up a little bit. Saturation is a little high over there at this point I think. Actually I'm going to take a more ginger sort of approach to it.

All right, that looks good to me. So we can make that kind modification if the problem is still bothering me, why then I can fix it here inside a Photoshop, because it is the best pixel manipulating program on the planet, and not only that - it's the best program for blending photographic images along with editable text and vector-based shape outlines that the world has ever seen.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Advanced.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
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Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

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How to use exercise files.

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Exercise files

Access exercise files from a button right under the course name.

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