Join Bryan O'Neil Hughes for an in-depth discussion in this video Moving elements within a scene using content-aware move, part of Photo Workshop: Portrait of an Exotic Car.
Okay, so Content-Aware Fill. I've mentioned Content-Aware Fill before, really cool technology. What it does is you make a selection, and it guesses what to put in there based upon what it knows about the area around it, lens flare, or moving people, trash, whatever it might be. If you try to apply it to something like this, if I come over here and make a selection here, and I hit Delete. What's going to happen more often than not is I'm going to end up with something I didn't want in there.
Now you can't fault it. It's looking all around the image and trying to figure out what to put in there. It's funny you know, you give people these amazing tools and they--most people 99.9% of people are really thankful, but occasionally people come up and they get really upset about the stuff like this. How dare your magical feature throw a bumper next to my car? The weirdest one I ever heard as we had showed, I've showed removing someone standing in front of a billboard and they wanted to know why we hadn't completed the text behind where the person was standing.
I was like, I don't know what you think we're doing, but we, we don't know what it says behind the person. We don't have any idea. So this feature is dedicated to that person. So what we want here is the ability to override this and tell it where to fill. To use Content-Aware Fill but to tell it where the source is. And so that's what we've done here in CS6. If I come down to my Patch tool, it now has a Content-Aware option there, and so I can take that same area and move it over here, and just drop that in, and it's going to take the dirt from the side and copy it over and blend it in to the other side of the image, take that out of there.
Really, really handy, you can do all sorts of cool stuff with that. That might be handy for a lot of you guys today with people in the background, right? I want this wall to look like this section of wall just move that over. Okay. So show you another area. Okay, this one is designed to make people like me nervous while they demo because there is a random nature to all of this stuff, that's kind of how part of it works as it's, it's synthesizing information, and there is a random variable to it. But I what I want to do it with this image is I want to move it over, right, I want to it's--my composition was off.
I want to take that and move it over to the middle. Normally, I wouldn't even bother with that. I'd go back to the boardwalk at 6 in the morning, and I just shoot it again, because it's a huge hassle. But the idea here with this new tool called Content-Aware Move is that I select my image, and I'm just making a loose selection here, and if anything goes wrong we're going to blame me and my time-saving practices of not making a good selection, and not the software, but quick selection here.
And this tool is new, and it's designed to recompose and move things. So take that. Make sure it's on Move, and I pull this over where I want it, and it's going to remove the original, and it's going to drop in the new one, it worked pretty well, right? Check it out, okay. How on earth what I do that in software before then it's--I can't even, I can't do that with Content-Aware Fill. There is not enough stuff to look at. So it's saying, here's what you are, I'm removing the original, I'm going to put this over here.
Now I told you guys, I used to shoot motor sports on the track in a prior life long time ago. Not only would I have killed to have shot digital back then because you burn through a lot of film, but recomposing stuff would have been huge. I can't tell you how many times you get the car almost in the middle of the frame, but not quite good enough, or you get a great frame, and then the magazine says well it needs to be vertical, and it's like, what am I going to do, there's nothing to work with here.
Just being able to pick something up and nudge it overall a little is huge. So this would be fantastic for that sort of thing. Now this being Photoshop, we can do somewhat ridiculous things with it, and I'll show you that. This is not my image. Most of my images that I demo with are my own because I want try to test this stuff and break it as much as possible. So I shoot a lot, and I use our software a ton. I 'm going to use Content-Aware Fill to get rid of the reflector, it works really well for that. It's just going to pull that out of there, it's looking at the grass around it.
And with the woman over here, what I want to do is again use Quick Select and just select her. I'm going to make believe you guys with Quick Select by the end of the day. I Option-click to pull it back in and make sure I have a bit, this is a really loose kind of ugly selection. So again, if it's not perfect let's blame me and not the software. Let's expand it, I don't know, 7 pixels. The idea behind expanding it is you want to give it an area to look at.
So it knows when we were removing it, what to remove, but when we're putting it somewhere else what the area around it looks like. And what I want to do with her is move her over. So I'm just going to grab her and take her over here. All right, and so we're going to remove the original, we're going to pull over, and we're going to drop her in other side, right. Now we can do some other stuff with this too. There's another mode to this. This is really showing off at this point, it's not necessarily practical, right.
So I can do stuff like that, or we can extend things with it as well. We can distort reality. So you can do all sorts of cool stuff with Content-Aware Move. I think like a lot of things with Photoshop, I like to show Content-Aware Fill removing a person or filling in the missing area of a panorama. But the practical used cases are nudging something over a little bit, tweaking something a little, removing something, just subtle shifts, tiny shifts, those things aren't as fun to show on stage. So if I show something over the top, that's the idea there.
But people use these things for smaller features.
In the first portion of the course, Bryan photographs a carefully lit Mercedes-Benz SLS AMG and shares tips for photographing cars. He shows how to evaluate the lines of the vehicle and compose shots for the greatest dramatic effect. Along the way, he employs a variety of lenses and shooting techniques, from macro to high dynamic range.
Next, Bryan guides the workshop's attendees through his Lightroom and Photoshop workflow. He shares insider tips on how to take advantage of the features in Photoshop CS6, such as the revamped Crop tool, the Iris Blur and Tilt-Shift filters, the Content-Aware Move tool, and video editing tools.