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Photoshop CS5 One-on-One: Advanced

Sharpening and high-noise photos


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Photoshop CS5 One-on-One: Advanced

with Deke McClelland

Video: Sharpening and high-noise photos

I still have open Roman theater.dng, found inside the 24_camera_raw folder. And in this exercise, we're going to take a look at the Sharpening options right there. Now, note that I'm zoomed in to 200%, so that we can clearly see the detail inside this image. I am going to scroll over a little bit, so that we can take in this column, along with a little bit of sky and some details in the background. Now, bear in mind once again that we are trying to accommodate for the input process, so we are sharpening to compensate for the effects of our Noise Reduction options down here. We're also trying to correct for the natural softening effect of the demosaicing process.
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  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

Sharpening and high-noise photos

I still have open Roman theater.dng, found inside the 24_camera_raw folder. And in this exercise, we're going to take a look at the Sharpening options right there. Now, note that I'm zoomed in to 200%, so that we can clearly see the detail inside this image. I am going to scroll over a little bit, so that we can take in this column, along with a little bit of sky and some details in the background. Now, bear in mind once again that we are trying to accommodate for the input process, so we are sharpening to compensate for the effects of our Noise Reduction options down here. We're also trying to correct for the natural softening effect of the demosaicing process.

That's part and parcel of bringing an image from Camera RAW into Photoshop. So we start things off here with this Amount value and you can crank up the Amount in order to apply more sharpening to your image. I figure that's fairly self-evident. We also have a Radius value that's going to allow you to increase or decrease the size of your halos. I urge you not to take your halos too high. Notice that the Radius value tops out at 3.0 pixels there, because anything after that is going to start surviving the print process, and you don't want to create halos that survive the print process at this point in time.

You want to apply very targeted sharpening using a low Radius value. Anyway, I will leave it a little high for now, just so we can see what's going on here. The Detail option is basically a sliding version of that More Accurate check box that I showed you inside the Smart Sharpen dialog box back in the previous chapter. And so the idea is if you increase the Detail value, you're going to apply that micro sharpening to the image, and as a result you will see all these kinds of wormy patterns, sort of termite patterns throughout the photograph. I don't find it to be the least bit pleasant, so anyway, I typically take this value down.

By default, it's set to 25%. And then Masking allows you to create an edge mask on the fly. And in order to understand what's going on there, because it's a very cool function, I need to show you this awesome trick that you can apply to all four of these sliders. You can Alt+drag or Option+drag the slider triangle in order to see exactly what's going on. So if you Alt+drag or Option+drag the Amount value, you will see the amount applied just to the luminance information inside the image, because Camera RAW only sharpens luminance.

That's the way it works by default. If you Alt+drag or Option+drag the Radius value, you'll see those light and dark halos develop and grow or shrink on the fly. If you Alt+drag or Option+drag the Detail option, then you will see that Detail grow in grayscale. So again, this is a luminance only function right here. And you'll also see it shrink away, which is good, in my opinion. You don't want much of it. And then finally, this one is great. If you Alt+drag or Option+drag the Masking slider triangle, you will see that edge mask develop on the fly.

The higher you go with the Masking option, the smaller your edge mask become, so the more targeted your sharpening effect becomes as well. All right, where this image is concerned however, I'm going to reset my options to their defaults, which is a Radius of 1, a Detail setting of 25, and a Masking setting of 0. The default Amount value is 25, I am going to raise it to 50, because I have applied a bit of Noise Reduction right there. So when you raise your Noise Reduction values, you're probably going to want to raise your Sharpening Amount value as well.

All right, so that's how these various Detail options work when you're trying to accommodate a low noise image. What about a high noise image? For example, this guy right there, Ventura harbor.dng, this is a corrected version of the image from a couple of exercises ago, again found inside the 24_camera_raw folder. And I'm going to go ahead and zoom in on the image, once again to 100% by pressing Ctrl+Alt+0 or Command+Option+0 on the Mac, and then I'm going to scroll down to this boat right here, so that we can see it in all of its detail.

Now, I want you to notice something here. See this color noise, the wandering colors inside the hull of this ship? It should be neutral, so we should just see shades of gray really, or because of our very warm color temperature value, we may see some cool blues inside of this region. However, what we see is a mottling of blues and violets and greens. To smooth that out, I am going to go ahead and raise that color value from 25 to 75, so I am going to take it pretty high, and that ends up smoothing out the hull pretty nicely. Now, notice when I zoom out, I will press Ctrl+Minus or Command+Minus on the Mac, the color noise comes back. There it is.

It's worse than ever in fact, because we're not seeing the effects of any color noise reduction wen we're zoomed out like this. So just remember that that's happening. You cannot evaluate the noise inside your image at anything less than 100% in Camera RA. Inside Photoshop, you can. Anyway, I am going to zoom back in there. All right, I also need to reduce some luminance noise here, but before I can do that effectively, I need to blow out the shadows a little more. I need to exaggerate them, just temporarily. So I am going to go back to the Basic panel, and I'm going to increase my Fill Light value to say 30, and I will later follow that up and reduce that value, because I don't want my shadows to be this overly lit.

Notice things are looking pretty darn strange in the background here. In fact, this boat now looks like a toy boat in a bathtub. Anyway, I am going to zoom back in, and then I am going to switch back over to my Detail panel, and I'm going to raise that Luminance value until the noise starts to go away, and really I think I want this guy pretty high. I am going to take it up to 75%. I'm going to keep my Luminance Detail option set to 50% incidentally, and then let me just show you Luminance Contrast here, because I don't think you're going to see anything happen whatsoever.

In fact, let's go a little farther with this. I am going to take the Amount value for my Sharpening up to 150%. So that we're exaggerating the sharpening, so we can see the noise in all of its glorious detail. And notice, if I ramp up the Detail option, I am creating just worms all over this image. It's just hideous, but if I take the Detail value down, then I just have the micro worms here and there. They are pretty evident actually. And notice if I take that Luminance Detail value down, that I'm still left with little pockmarks of noise here and there inside of the image, whereas if I take it up, then I have more uniform detail sharpening going on.

So I am going to ahead and keep my Luminance Detail at 50%, but I just want you to notice that that is happening in the background. We're not going to have such a high Amount value, so it won't be so obvious in just a moment. But I am exaggerating the Amount, and I might as well exaggerate the Radius as well. Let's take it up to something like 2.5 for a moment. So we can try to see the difference here between Luminance Contrast. So right now we are seeing a Luminance Contrast value of 0. Let's go ahead and zoom in even farther here, so we can see basically the hood of this yacht, I suppose.

And now I'm going to increase the Luminance Contrast value all the way to 100. And did you see just that slight change in the quality of the noise there inside of the image? So this is 100%. Look right here across this blue material. That's 100% and this is the effect of 0. So the Contrast drops out ever so slightly when you reduce that value. I am not sure it's worth even worrying about, but there it is. You may notice it has a more profound effect over time. But anyway, having applied these settings, so 75, 50, 0.

75, 50 once again for my Noise Reduction options, I am going to take my Amount value down to 50, once again to account slightly for the Noise Reduction that I have applied. I might even take it a little bit higher, but this is an awfully noisy image so I don't want to push it. And then I'm going to reduce my Radius value back down to 1, and I am going to take Detail down to 0. I don't want that kind of molecular sharpening inside this image. And then finally, I am going to switch back to my Basic panel and restore the Fill Light to 0 as well, because I'm done with that option.

And this is the lower noise version of the image. Another area that you might want to check out is these background boats right here, which are looking in pretty darn good shape I have to say, thanks to my ability to go in there and massage the differences between neighboring pixels here inside the Detail panel.

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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