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Scaling around a model with TLC

From: Photoshop CS4 One-on-One: Mastery

Video: Scaling around a model with TLC

In this exercise I'm going to show you what to do if Protect Skin Tone helps but it doesn't altogether solve the problem and we are going to be taking a very deliberate approach to this image because this image contents a model. And when you are Content-Aware Scaling inside of a portrait most likely I'm assuming you don't want to harm the person. You just want to manipulate the background. So how do you go about doing that? Well, you have to take a very deliberate approach, so you don't end up bending the arms and that kind of stuff for example. All right, so I'm working inside of an image called Brand new day.psd found inside the loving 29_new_tech folder. And by the way, we have got this layer called needs love because she does. And this image incidentally comes to us from photographer Juan Gabriel Estey of istockphoto.com. And what I want to do is I want to make the image only as wide as her out stretched arms. And I cloud crop it of course but then I would lose this little bit of shrubbery right there when I crop through the clouds. I just want all that stuff tucked underneath and we can do that with Content-Aware Scaling.

Scaling around a model with TLC

In this exercise I'm going to show you what to do if Protect Skin Tone helps but it doesn't altogether solve the problem and we are going to be taking a very deliberate approach to this image because this image contents a model. And when you are Content-Aware Scaling inside of a portrait most likely I'm assuming you don't want to harm the person. You just want to manipulate the background. So how do you go about doing that? Well, you have to take a very deliberate approach, so you don't end up bending the arms and that kind of stuff for example. All right, so I'm working inside of an image called Brand new day.psd found inside the loving 29_new_tech folder. And by the way, we have got this layer called needs love because she does. And this image incidentally comes to us from photographer Juan Gabriel Estey of istockphoto.com. And what I want to do is I want to make the image only as wide as her out stretched arms. And I cloud crop it of course but then I would lose this little bit of shrubbery right there when I crop through the clouds. I just want all that stuff tucked underneath and we can do that with Content-Aware Scaling.

Content-Aware Scale is extremely adept at tucking as you will see. And then I want to stretch the sky all the way to the top of this expanded canvas. So that I have tons of room for let's say add copy. Like you know some prescription thing or other. All right so I'm going to go up here to the Edit menu and I'm going to choose Content-Aware Scale but this time instead of just stretching the corner handles I'm going to take a very deliberate and a numerical approach. Make sure of course that your little Protect skin tones man is turned on. And then I'm going to go over here to this Reference Point Matrix and I'm going to click the bottom point right there. So that she is anchored at this location right there.

And in fact, let's go ahead and anchor her right, in the middle of her torso. So that we can keep track of the arms and if the arm start to squish then we are in trouble. All right now go over to this Width Value, which erroneously says 98%. Every once and while Content-Aware Scale will do that, where it gives you the wrong reading. Let's go ahead and restore that to 100%. All right that's good. Now it's very unlikely you are ever going to want it turn on this link, because why would you want to maintain the Aspect Ratio if you are stretching an image with Content-Aware Scale. But it is an option, and just unlikely you are going to take advantage of it.

The Width value is active. Now I'm going to press Shift+Down Arrow and we can see that the image is declining in width. And she did sort of jump around there, more than I would have liked. Because it's difficult to track her when she does that. Her arms look just fine to me so I'll press Shift+Down Arrow again and she got a little bit of squishy going on. I saw something happen with her neck right there. If we press Shift+ Down Arrow again, oh that's definitely bad. We have lost a good deal of her ribcage here and her shoulders getting shoved into her neck and things just get worse and worse as we go on here.

This is a hilarious command by the way. I should point that out that it's something to show friends and have fun with just like Liquify. Anyway, I'm going to increase the Width value, back to 80% and I'm thinking that this works out pretty nicely. Actually look 81 just took her shoulder out a little more. I'll see what 82 does. No, 82 no difference. So 81 is the best Width value for now. And of course we'll take multiple approaches to this one. Then let's tab our way over to the H option for Height of course, and I'll press Shift+Up Arrow to raise the sky and if I press Shift+Up Arrow to raise the sky again, I start stretching her torso. So she has got the same problem that the woman in the chair had.

The woman in the chair was sitting in a red chair which is stretchy it's not protected by Protect skin tones. And she is wearing a red dress. So her world is stretching a little bit too. And then of course we could really give her some torso action if we want to just stretch her waist all the way up there and change her human proportions in a crazy fashion. Anyway I'm going to restore this value back down. Press Shift+Down Arrow until we get a reasonable looking human being, which is right there at 110%. So might as will take it just a little bit at a time. You do not need to get that much accomplished in one fell swoop. It's good to be patient and by the way notice that we did indeed tuck the shrubbery under her hand, this tree right there and the clouds too. So they have gone dramatically under her arm right there.

I will go ahead and press the Enter key or the Return key on the Mac in order to accept that modification. Actually I have to press it a couple of times because my Numerical option was active right there. And then of course we have to wait out the Progress bar just bear in mind that that's part of the deal. And just to give you a sense here, I want you to see how wonderful it is that this got tucked under. This was before. It was fully out of the hand range right there. The clouds were under the back of her hand and then this is after, the tree is moved under her hand and the clouds have moved under her elbow.

Just awesome. We still haven't quite accomplished my goal. So let's go up to the Edit menu choose Content-Aware Scale again and I should say something. It's kind of an apology. By default you have a keyboard shortcut for Content-Aware Scale, which is Ctrl+ Shift+Alt+C or Command+Shift+Option+C on the Mac. Thing is I have decided to reassign that keyboard shortcut to the Crop command right here, because I find it personally to be much more useful. I'm constantly cropping with this command, but I rarely go to this one here. So if you feel differently definitely change it back using of course, the Keyboard Shortcuts command down here.

I am going to choose Content-Aware Scale again manually and then make sure my bottom point is active inside of my matrix right there. And we'll go back to the Numerical options also check the man, the Protect skin tones dude. And then go to Width once again. We are going to press Shift+Down Arrow to see it go down to 90% and it looks good and then Shift+Down Arrow again to take it down to 80%. There is something happening with her shoulder and neck action again and we are shaving off her ribcage. The old problems are reoccurring here. So let's go ahead and take it up 1% at a time and right about there at 87% her normal proportions are reinstated or if we have go to 88% she doesn't get any better. 87% she looks great.

All right so we are being very, very scrupulous. We do not want to harm her one iota. All right, now tab over to the H value and let's press Shift+Up Arrow once. Nice! Shift+Up Arrow twice. Also nice. She is fine. Shift+Up Arrow again, we start getting the stretched torso. So let's take it back down. So 120%, 87% for W, 120% for H or Height. Press the Enter or the Return key a couple of times in order to apply that transformation. And then once I get done, we need a third application of Content- Aware Scale to finish the job.

By the way I have found that to be rather true for most images I have worked with. I mean some images just aren't going to be helped by Content-Aware Scale. But the ones that respond positively to what I find tend to respond quite well to three applications of the command. Anyway that's just an FYI. I'll go up to the Edit menu choose Content-Aware Scale. Once again, turn on that bottom point in the matrix and then I'm going to go over here to the Width value and I'm going to press Down Arrow, Down Arrow and as far as I can go. If I go to 97% notice, she starts getting squished. But at 98% she looks good. And we were tied to that finger. I think that that's what we are going to get. And then tab over to Height and you know what, why tab over to Height? Really let's just drag the sky all the way up now and that's going to work out for us. We have tons of sky to work with.

Now you might say, well Deke, that's just blue sky buddy. I mean that's just flat blue sky. You could have just filled it with blue. No you can't. You try that out if you want to and you will see that it doesn't work. Because there is all kinds of variation. Even a flat sky you are going to find all kinds of luminance and hue and saturation variation going on, and you can't try to fake it with a gradient or something along those lines, but Content-Aware Scale does it every time. This command is just great where skies are concerned. All right, I'll press the Enter key or the Return key on the Mac in order to accept that modification. We of course, have to wait out the Progress Bar.

Then I'll go up to the Image menu choose the Trim command. Click OK. Just ignore that dialog box and I'll go ahead and press the F12 key. This is the way the image looked originally and this is the way the image looks now. Isn't that amazing? Now of course, zoom in and check out the details. What you will find is that she looks great, at least that's what I found out. Where I'm seeing problems is if I zoom in on the grass see these weird transitions here inside the grass. That might be the kind of stuff you want to clone away or it might disappear on print. I would say actually if you print this image at 240 ppi or better this stuff is going to go away.

But if you are going to show the image at full size on the web you might want to think about the healing over some of those defects down there. But otherwise, I think it looks great. In the next exercise I'm going to show you how to use that Amount value up there in the Options bar and just coincidentally we are going take a moderately wide image and we are going stretch it into a panorama and it's going to look awesome. Stay tuned.

Show transcript

This video is part of

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

147 video lessons · 27723 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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