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Sharpening with High Pass

From: Photoshop CS5 One-on-One: Advanced

Video: Sharpening with High Pass

I've gone ahead and saved the results of the last exercise as Emboss vs SS MB.psd, found inside the 15_sharpen folder. I am doing this so that you can look at this file on your own screen, if you want to as opposed to here in the video. Because even though we got rid of all that color saturation in the Emboss overlay layer, we are still getting some different colors out of this effect than we were with SS motion blur, and I actually prefer the colors that are going on inside the SS motion blur effect even though we have more noise inside that version of the image.

Sharpening with High Pass

I've gone ahead and saved the results of the last exercise as Emboss vs SS MB.psd, found inside the 15_sharpen folder. I am doing this so that you can look at this file on your own screen, if you want to as opposed to here in the video. Because even though we got rid of all that color saturation in the Emboss overlay layer, we are still getting some different colors out of this effect than we were with SS motion blur, and I actually prefer the colors that are going on inside the SS motion blur effect even though we have more noise inside that version of the image.

So again, it's going vary from one image to the other and you can decide which path to take. Anyway, I am going to switchover here now to Ready for High Pass.psd, which is another variation on the squirrel's image right here. What we've got going is an Advanced 70% layer. You may recall that's the application of Smart Sharpen using the Advanced settings that required a little bit of work and then backing off the Opacity to 70%. Now I am going to show you how to avoid clipping if clipping is an issue for you, that is highlight and shadow clipping.

How to avoid that clipping using High Pass? And High Pass ends up having a little bit more of a delicate touch where sharpening is concerned. It's not a super intuitive filter for this purpose, but once you get the hang of it, I think you can make it work. It's really ideal for portrait shots as well as these squirrels here. All right, so I am going to go ahead and turn off Advanced (70%) and basically what I have going here is two versions of the original image, one in the Background layer and then one on this High Pass layer.

So they are the exact same non-sharpen version of that image. I am going to zoom in little bit so that we can take in more detail here, and I'll go up to the Filter menu, I'll choose Other, and I will choose this command right there High Pass. Notice if you loaded dekeKeys I've given in a keyboard shortcut, because I use this one a lot. I don't use Emboss that often, but I do use High Pass all the time. Shift+F10, go ahead and choose that command in order to bring up what has to be just absolutely the ugliest filter ever.

It just turns the entire image gray. It doesn't even bother to try to create some kind of cool effect the way Emboss does. It just makes the image all gray and the edges are there hanging on for dear life. So what's going on is that all the non-edges in the image are turning gray and then the edge details have little halos popping off of them, but we are actually seeing less in the way of the edges than we were before we even applied the command. So if I go ahead and turn Preview off, you'll see that those edges were a lot stronger before I apply the filter and then if I turn the filter back on you can see that they're really going away.

Well, what's happening is the edges really are hanging on. So you can imagine that we are taking all of the details inside this image and sifting it through a funnel, let's say. All the non-edges are going down to the bottom of the funnel, they are just running into this gray world here and then the edges are hanging onto the sides. This is a strange thing. If you increase the Radius value, you get less of a detrimental effect out of this filter whereas if you decrease the Radius, then you get more of an effect out of this filter.

You get rid of more and more colors and you have fewer edges hanging on there. Well, what you want to do with the Radius value is account for your output. So in other words if you're outputting for screen, you want to keep this value very low and the same rules that apply to Unsharp Mask apply here in High Pass as well. So 0.3 to 0.5 is going to work out well for screen images. Even though it doesn't look like it's going work at all, it will. So you just have to trust it, and you will gain experience over time, if you decide to work this way.

For print, you want to raise that value to something in the neighborhood of 3 pixels for example, so one pixel worth of Radius for every hundred pixels per inch of resolution. You may recall just so that we're getting a decent comparison here. I applied Radius value of 4 pixels with Lens Blur inside the Smart Sharpen dialog box, and I was telling you that when you're using Lens Blur, you have to increase your Radius value to about half again what it was before. So I am going to take my Radius value down at 2.5.

That's not exactly the right math, but it will work out well enough here. So 2.5, click OK. Now what do we do about all these grays inside the image? How do we keep the highlights and the shadows and burn them in the place and get rid of the grays? Well the same way that we did exactly that same thing with the Emboss effect. That is we apply one of the contrast Blend modes starting with incidentally Overlay, and notice that just goes ahead and drops out all those grays. We keep the highlights and the shadows and we get what is ultimately a very nice sharpening effect.

So this is the original version of the squirrels, if I turn that layer off and this is the High Pass version of the squirrels right there. Let's go ahead and compare that to what we were able to achieve using Smart Sharpen. This is the Smart Sharpen effect and we had to go through all those hoops, right. We had to apply those Advanced settings that don't make a ton of sense and then we had to reduce the Opacity to 70%, and we had to apply an Amount value while there was no amount value associated with High Pass. So we just got some decent results right off the bat.

Now if you look closely at this image you will see that there is something of a difference. I will go ahead and zoom in on the fur. Notice that we do have some wandering color problems here inside of the squirrels fur, even though we went ahead and applied our modification, that is we applied Smart Sharpen just to the luminance data. But if I turn off that Advanced (70%) layer, you can see that we've got a lot of color going on with High Pass as well for the exact same reason that we had weird colors coming out of the Emboss filter, because there are some colors still at work in that High Pass layer.

If we want to get rid of them, then this time we won't switch back to Normal and all that jazz. We will just leave High Pass set to the Overlay. Go ahead and make sure that layer is active. Then I want you to watch these colors inside the fur. Go up to the Image menu, choose Adjustments and that ends up covering up a lot of those fur details. But still, then I will go down here to Desaturate. Choose that command and you'll notice that a lot of those colors go away. So this is before, we have all kinds of weird colors going on inside of the fur here and this is after I apply Desaturate.

So there are still some aberrant colors at work, but that's just because we are exaggerating the color distinctions that were already there. Anyway, that's what you do. I will go ahead and zoom out. Now let's say that you want to increase the intensity of this sharpening effect. Why then you can switch from Overlay to one of two other modes. You can either take it up a notch by moving up to Hard Light, that will give you more pronounced effect. Let's go ahead and zoom in to a 100% so we can see that. So this is the result of Overlay like so and then this is the result of Hard Light.

I'm showing you the difference just by pressing Ctrl+Z or Command+Z on the Mac. Then if you really want up the ante you switch from Hard Light, go ahead and skip this guy and switch to Linear Light, like so. Then you're going to get a very pronounced effect out of the filter. You can always modify the Opacity value if you want to. Now if Overlay is too much, you can reduce the Opacity or you can also try switching to Soft Light. Now Soft Light is not just the lower opacity version of Overlay, but it does provide a more nuanced effect. So I will go ahead and choose Soft Light and then if I turn off High Pass, this is the original version of the image, this is the, ever so slightly sharpened version of the image, so not all that different, but still.

Anyway, I am going to go ahead and switch back to Overlay here. The other thing to note where the differences between these variations are concerned, if I go ahead and turn Advanced (70%) back on, not only do we have a stronger effect inside of the fur; notice that. So this is Advanced (70%) applied using the Smart Sharpen filter. This is the High Pass variation which notice doesn't have any clipping going on. So we are not clipping the heck out of the highlights and shadows here. Also however, notice that we are retaining the whiskers quite nicely.

So we didn't have to sacrifice the whisker detail with High Pass where we did with those Advanced settings here at 70%. So there are some differences going on. Notice that the whiskers are little more pronounced or least they would be if we were to switch to a different blend mode. Let's go ahead and knock this up from Overlay to Hard Light and see there we get the whisker detail back. We are still not clipping the highlights or the shadows. Now notice the difference here with Advance 70%, that's what I was hoping to show you right there. That goes ahead and clips out the whiskers, because of those advanced modifications we made, whereas with High Pass we still get that whisker detail.

So if you're really interested in avoiding clipping where sharpening is concerned, and this is very useful for portrait sharpening, why then High Pass tends to be the better way to go. High Pass with whatever radius value you would normally apply using Unsharp Mask and then go ahead and set that layer to one of the contrast modes whether it be Overlay, Hard Light, or Linear Light.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Advanced
Photoshop CS5 One-on-One: Advanced

247 video lessons · 32817 viewers

Deke McClelland
Author

 
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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