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Photoshop CS4 One-on-One: Advanced
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Simulating Vaseline and film grain


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Photoshop CS4 One-on-One: Advanced

with Deke McClelland

Video: Simulating Vaseline and film grain

In this exercise, I'm going to show you how to add yet another layer of Gaussian Blur in order to completely and totally mimic that Vaseline/nylon stocking over the lens effect. That was so popular back in the late 60s and 70s and so on and then we are going to add a layer of Film Grain on top of that and the reason we are doing the Film Grain is in the case of this image just for effect, but you can also use this technique to mimic digital noise or film grain that's inherent inside of an image which can be a very useful thing because whenever you are blurring or averaging or smearing or smudging pixels around inside Photoshop, you end up eliminating that natural film grain or at least running the risk of doing so and this is a way to bring it back in.
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  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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Photoshop CS4 One-on-One: Advanced
20h 57m Intermediate May 01, 2009

Viewers: in countries Watching now:

Photoshop is one of the world’s most powerful image editors, and it can be daunting to try to use skillfully. Photoshop CS4 One-on-One: Advanced, the second part of the popular and comprehensive series, 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 CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.

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

Simulating Vaseline and film grain

In this exercise, I'm going to show you how to add yet another layer of Gaussian Blur in order to completely and totally mimic that Vaseline/nylon stocking over the lens effect. That was so popular back in the late 60s and 70s and so on and then we are going to add a layer of Film Grain on top of that and the reason we are doing the Film Grain is in the case of this image just for effect, but you can also use this technique to mimic digital noise or film grain that's inherent inside of an image which can be a very useful thing because whenever you are blurring or averaging or smearing or smudging pixels around inside Photoshop, you end up eliminating that natural film grain or at least running the risk of doing so and this is a way to bring it back in.

It ends up being another practical effect, even though our application of it is anything but practical here. I'm working in a catch-up document. I have gone ahead and saved my progress thus far as an image called Object de Kirk.psd and what I want you to do right now is make sure that the top layer in the stack in the Layers palette is selected and then press Ctrl+Shift+Alt+E again or Command+Shift+Option+E on the Mac once again to merge all layers including these new layers inside the image and you can't just duplicate all merged because it's already blurred. So that step is done and also it doesn't match the contrast of the overall composition so you have to create a new static merged layer and then I'm going to go ahead and call this one Vaseline because that's what it really represents it's no longer just plain old diffused focus, this is the actual goop on the lens this time around and what we are going to do this time is we are not going to employ a blend mode this time, we are just going to work with a Normal mode and we are going to reduce the opacity.

So rather than working the direction I did before where we go ahead and blend the layer and then blur it, I'm going to blur the layer and then blend it because we are not going to know what opacity value to apply until after we have done the blurring. All right, so what I want you to do now is go up to the Filter menu and Gaussian Blur was the last command I applied. So I'll just press Ctrl+Alt+F or Command+Option+F on the Mac and I'm going to work with a Radius value of 10 pixels this time. So previously we had 20, this time I'm going to take it down to 10 like so and there she was and there she is now.

All right, so click OK in order to accept that huge amount of softness right there and then I'm going to take down the Opacity value to taste, and I figure at 72% this is way too blurry. It's way too much Vaseline on that lens. So really this is your Vaseline slider right there, that's 100% Vaseline, all gummed up and then this will be no Vaseline whatsoever and then some amount of Vaseline in between and I think we won about 30% of that nylon stocking, what have you and that looks pretty darn and good.

So this is before and this is after. So you can see how it gives us some additional bounce, we are also brightening the shadow details just a little bit, darkening the highlights just a little bit as well. So it's very slight temper of the shadow highlight detail. All right, now for the film grain, this is a terribly practical technique. I'm going to first press Ctrl+Shift+N, Command+Shift+N on the Mac to establish a new layer and I'm going to go ahead and call this guy film grain and I'm going to click OK in order to create that new layer. Then I want to fill that layer with gray. So I'm going to go up to the Edit menu and I'm going to choose the Fill command and you can also get to this command incidentally if you press Shift+Backspace here on the PC or Shift +Delete on the Mac. And you might say, well that doesn't make any more sense.

But it does in the world of Photoshop because all of those Backspace techniques that fill a selection with either the foreground or background color like Backspace on the background layer or Delete on Background layer for the background color and then Alt+ Backspace or Option+Delete for the foreground color and then Ctrl+Backspace or Command+Delete for the background color, no matter what and then Shift+Delete for the Fill command. So anyway, you can also just choose the command if you like, brings up the Fill dialog box. Let's go ahead and change the Use option right there to 50% Gray which is what we want and the reason we are going with 50% Gray is because that's a great baseline for creating noise. That way the noise can be lighter than 50% or it can be darker than 50%, so it gives us a lot of noise range and then we can drop out that baseline, we can drop out that gray using the Overlay blend mode.

So I'll go ahead and click OK in order to fill that entire layer with gray. If I choose Overlay, all of these modes by the way, these contrast modes, they all treat gray as neutral. So if I choose Overlay, then the gray just disappears, the entire layer disappears. Notice that if I turn it off and turn it back on, there is no change, thanks to Overlay. All right, but I want to see what I'm doing. So I'm going to change this back to Normal and then go up to Filter menu, choose Noise and choose Add Noise right there, and I'm going to suggest you work with about 10% where this image is concerned and you will see what 10% ends up looking like and then you can make decisions about whether you want to use less noise or more noise for your images.

But for like old style TV, which is the effect I'm trying to achieve here. 10% is great. For new style digital photography, you are going to want to go with a much lower value, something like 3% probably and then even some older film photography, you probably take it up to 6 or 7%. Anyway, I'm going pretty high 10% right there, I'm going to stick with Uniform. If you want bigger noise, you can go with Gaussian that's just going to increase your contrast, but I'm going to stick with Uniform and then we want Monochromatic, in order to make sure that we are just working with grayscale noise otherwise we would be introducing foreign colors into our imagery and I don't want to do that. Usually you don't, sometimes you do, it depends. I mean if you are trying to mimic color noise, obviously you would leave Monochromatic turned off and then click OK in order to accept that effect.

Now I'll go ahead and apply it, the Overlay mode to see what it looks like and now you can really see that grain that's on top of this image here that's applied on top of the image and it doesn't look like grain though it's a problem, it looks like noise because it is noise and the reason it looks like noise is because it's only single pixels of noise that have been applied to this image. So every pixel is colored differently than its neighbor and you don't see that with film grain because it's not pixel base. All right, so I'll just go ahead and zoom out there, so we can take in that entire image once again. So that's not quite the look we are going for. We just want to gum things up ever so slightly and this is another job for Gaussian Blur.

So I'm going to go on to the Filter menu and choose Blur, choose Gaussian Blur and then I'm going to reduce my value to about 0.7 for this image, you can go bigger or smaller. You will definitely want to stick around the one and under range where the radius value is concerned. One pixel or less probably, it depends on the effect you are going for. But this is really an eyeball effect. I could take it down even further if I want, but I like actually, for this image, I really like 0.7 and then click OK in order to accept that modification and that's our Film Grain right there, there it is before and there is the image afterwards.

So we are getting a nice TV effect and this may seem like we are going too far, if it does, by all means you can reduce the opacity. This is what it looks like at 50%, so just little bit of grain there. But if you actually take a frame from the television show, which I invite you to do, you will see it's more like this. There is a ton of grain on any given frame on Star Trek and just sort of old school 4x3 TV in general. All right, that's it, that's NTSC for you right there. In the next exercise, I'm going to show you a different way that we could have created that gray layer just so you know and then I'll show you another diffuse focus effect, it's really the same darn thing, just apply it to a different person, so you can get a sense of just how thrillingly useful this technique is. Stay tuned.

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