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Photoshop CS5 One-on-One: Mastery

Tracing and extracting seams


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Photoshop CS5 One-on-One: Mastery

with Deke McClelland
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  1. 40m 45s
    1. Welcome
      2m 45s
    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 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

Video: Tracing and extracting seams

I've saved the results of the Photomerge command as Multilayer panorama.psd, found inside the 32_photomerge folder. And if you take a look down here at the bottom-left corner of the image window, notice that it's telling us that the flattened size of this image would be almost 40 MB, so that's a pretty big flat file. The layered version of file, after the slash, is nearly 200 megs in size, which is a fairly whoppingly big file to open inside of Photoshop. So if you're working on a somewhat underpowered system, this file might present a challenge for you.

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Photoshop CS5 One-on-One: Mastery
20h 1m Advanced Sep 30, 2010

Viewers: in countries Watching now:

In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.

Topics include:
  • Using masks and blend modes in radically new ways
  • Mastering the Pen tool and Paths panel
  • Transforming and maximizing Smart Objects
  • Employing Smart Filters to create complex effects
  • Exploring the capabilities of Bristle brushes and the Mixer Brush
  • Merging multiple images into seamless panoramas
  • Exploring the full range of luminance with HDR Pro
  • Recording actions and batching-processing images
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Tracing and extracting seams

I've saved the results of the Photomerge command as Multilayer panorama.psd, found inside the 32_photomerge folder. And if you take a look down here at the bottom-left corner of the image window, notice that it's telling us that the flattened size of this image would be almost 40 MB, so that's a pretty big flat file. The layered version of file, after the slash, is nearly 200 megs in size, which is a fairly whoppingly big file to open inside of Photoshop. So if you're working on a somewhat underpowered system, this file might present a challenge for you.

It might not open successfully. In any case, you can watch it with me, so. Now, let's say you want to be able to evaluate those seams, so you want to draw those seams as I drew them for you a couple of exercises ago. Here's what you do. It actually it takes a few steps. First of all, you select any one of these layers, and you drop down here to the fx icon, and you click on it, and you choose the Stroke command. And the stroke I suggest you apply, it's really up to you how thick you want it to be, but all of my strokes were 4 pixels thick, and then I went ahead and change the color from black to white.

But what you really want is a color that contrasts. It doesn't matter if it's black or white or whathaveyou. You just want it to stand out from its background. All right then go ahead and click the OK button here inside the Color Picker dialog box, and click OK inside the Layer Style dialog box. Now the reason I had to apply a stroke to just one layer is because if you select multiple layers like so, you can't apply a layer effect. I don't know why that is. It was so important in Photoshop CS5 to make sure that people could change the Opacity of multiple layers at a time, but we can't apply layer effects to them.

There are so many things we can't do to multiple layers at a time, but we can change our Opacity. Anyway, here's what we can do, though. We can copy a layer effect that we've applied one layer, and then paste it on to multiple layers, so that we don't have to redo that last step that I showed you there 13 times in a row. So that's helpful. Anyway, I am going to Right-Click on Effects right there, and I'm going to drop down to this command, which says Copy Layer Style, and click on it to select it. Then I will click on the next layer down, scroll to the bottom of the stack, and Shift+Click on the very bottommost layer. And I don't have a lot of room to work over here inside the Layers panel, so I m going to go to the Layer menu this time, and choose Layer Style and choose Paste Layer Style, and that will go ahead and paste strokes onto everybody else.

And now we can see the outlines of each and every one of our layers, and that shows us where the seams are. Now the problem is now every single one of our layers has these strokes on them, as opposed to having the strokes on an independent layer that we can turn on and off. And so that's a pain in the neck. Well, let's go ahead and turn them into an independent layer that we can turn on and off. By going to the top of the layer stack here, I'll click on the very top layer to make it active, and then I'm going to press that keyboard shortcut that allows us to merge all the layers together: Ctrl+Shift+Alt+E or Command+Shift+Option+E on the Mac.

And that creates a new layer that contains the strokes as well. And there's no sense in naming this layer, because we're ultimately going to throw it away. Just make sure it's there at the top of the stack, and then I want you to click on the next layer down, and scroll all the way to the bottom of the list again, click on that last layer in the stack, and I want you to go up to Layer menu, choose Layer Style and choose Clear Layer Style, to get rid of all the strokes. And I know that seems criminal because we have spent whatever number of minutes trying to get all these layer strokes.

But ultimately, we don't want those strokes there because then we'll have pretty obvious seams, I would say. People might notice these cracks inside our panorama. We are just trying to separate those strokes off to an independent layer that we can turn on and off at will, for our own purposes. So go ahead and choose Clear Layer Style to get rid of him on the independent layers. They're still appearing in the image window because they're still part of layer1 here. Now I want you to go up to the Blend Mode menu, and I want you to change it from Normal to Difference, so that we're keeping just the cracks, and we're sending all the non-cracks to black, because anything that's identical in the active layer to the layers below is going show up as black, as you see.

Okay, now, if you're working on PC, press the Escape key so that difference is no longer active; on the Mac you don't have to do that. Again, I want to you to merge all your layers, so press Ctrl+Shift+Alt+E again, or Command+Shift+Option+E on the Mac. And that goes ahead and creates a new layer that looks like this, so, black where there are no differences and other colors where there are differences. Now you can grab layer1 right there, and throw it away. We don't need it anymore. So press the Backspace key or the Delete key on the Mac to get rid of it. We'll go back to layer 2 now, which contains the information we need, and we need to enhance the contrast to the highest extent possible.

So go to the Image menu, choose Adjustments and choose the Threshold command, which is going to send every pixel on this layer to either black or white. And what I want you to do, in the case of this image, and this is the way it's going to work out with your other panoramas as well - most likely, is that you're going to want to reduce the Threshold Level all the way to 1, so that you send everything but absolute black to white. And that way we're keeping every single one of these seam lines, then click OK. And now a couple things.

One of the two things you can do. Either you can keep this layer and just change it to the screen mode, and then that will show you where all the seams are, or you could get rid of all the blackness between the seams and just have the seams by themselves. So either way is fine. This is the easiest thing to do so will just stop here. And I'll go ahead and call this new layer "seams" like so, and now we have an independent layer that is the seams and nothing else. And so what urge you to do is go ahead and zoom in and look around your image.

And this is a really great thing to do for all of your Photomerge compositions, because it takes out that uh-oh moment. It just gets rid of it. This way you know where each and every one of the seams is, just at a glance here. You can evaluate those seams, and you can say yup, that looks terrific, that looks awesome. There are no problems. Or, you can come to an area where there are problems, like down here in the lower-right region, and you can turn off the seams and turn it back on, and say yeah, we got some issues right there, but at least I know about them.

And I can either choose to try to fix them, which is going to be terribly complicated, actually, and not something we're going to do within the context of this project, or you can decide you know, that's fine. I can either crop that out, or I can leave it in and hope nobody notices. So I'll go ahead and zoom out. And I'm chuckling about this, but I'm telling you, Photomerge is an automated function, which means you suffer the consequences. Anyway, go ahead and check out your seams, make sure you're aware of them, and then go ahead and turn that seams layer off. It's just for you. You don't want to show that to anybody else.

In the next exercise, we're going to introduce yet another layer into this multi-layer panorama.

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


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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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