By Ashley Kennedy | Thursday, December 4, 2014
Last week, we explored how to use the darken blend modes within Premiere Pro and Final Cut Pro X to correct and stylize overexposed footage. We looked at how to stack identical video elements and use primarily the “Multiply” blend mode to provide richness, detail and contrast to washed-out footage.
In this week’s Video Post Tips Weekly topics, we’ll explore how to perform similar changes for underexposed footage.
Specifically, we’ll look at how to use the “lighten” blend modes to add detail and texture to your too-dark footage. And because of the way blend modes treat the lightest and darkest parts of your image, the result of your adjustments can often be more interesting and nuanced than if you used color correction alone.
By Ashley Kennedy | Thursday, November 27, 2014
Blend modes are the secret weapon of countless graphic artists.
Simply put, they allow you to combine multiple opaque layers and assign each layer a degree of transparency, which results in various types of blending. This lets you composite images, shapes, text, and other elements to build worlds of creativity—and are a common tool in programs like Photoshop and After Effects.
But did you know blend modes can also be a useful color correction tool in video editing software?
In this week’s Video Post Tips Weekly, we’ll explore how you can use blend modes to correct overexposed footage in both Premiere Pro and Final Cut Pro X. Next week, we’ll look at how to do the same thing for underexposed footage.
By Colleen Wheeler | Tuesday, November 8, 2011
November chilliness got you feeling cold and gray? In this week’s free movie Deke shows you how to brighten the world with your very own realistic rainbow, constructed completely from scratch in Photoshop. Start with a simple rectangular marquee, add a custom gradient, bend it into an arch with the Transform tool’s warp feature, then fine-tune with a little blur and surprising blend setting. The result is this promise of gold you see here:
Deke originally came up with this technique as an addition to a ‘skyshark’ project he created for his new Photoshop Masking and Compositing: Fundamentals course, where, in chapter 6 he shows you how to use the Color Range command to isolate a threatening shark and transport it to an unsuspecting meadow. Of course, not everyone sees a picture of a ferocious carnivore in an implausible environment and thinks, “What this image needs is a rainbow,” but I’d imagine you can think of a project where having the ability to create a suitable rainbow—or double rainbow—at will might be just the trick.
And for lynda.com members, Deke’s got a follow up video in the Deke’s Techniques collection this week in which he shows you how to create a realistic shadow in the grass underneath the floating shark (Casting an artificial shadow from a layer). If you don’t consider a shadow cast on grass by a floating shark with a rainbow in the background realistic, keep in mind creating photo-realistic (if not outright reality-based) shadows is a useful skill for your less fanciful work as well. Suspend your disbelief, and check out this useful technique.
See you here next week with more Deke’s Techniques!
Interested in more?
• The entire Deke’s Techniques collection
• courses by Deke McClelland in the Online Training Library®
• all courses on Photoshop in the Online Training Library®
By Crystal McCullough | Tuesday, February 2, 2010
Changing opacity is like mixing a cocktail with, say, 30% active layer and 70% all layers below. Assigning a blend mode is like shining a light or casting a shadow: The active layer infuses those behind it with life. In this week’s Photoshop Top 40 Countdown, Deke shows how to mix and blend layer opacities for best results.
P.S. If you want to see all of the Photoshop Top 40 Countdown tutorials in one place (and maybe want to bookmark some features), they are now compiled in the Online Training Library®!
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