Adobe® Photoshop® Integration: Liquify Filter

 

Adobe® Camera Raw

 

Lesson Info

Adobe® Photoshop® Integration: Liquify Filter

If you remember we started off with this young lady another brooke crystal shop both of these airport crystal shots and we started off here with this file here. This was the scene as it was shot we did our tango to it toe optimize it we had a little bit of romantic glow around the edge beautiful pastel twilight colors we did a little slim if I and if you remember that slim ify is something where um we went into our, um len's correction option our manual portion of it came down here to the middle here and we did aspect hey aspect and you can see what it's doing its goingto distort it either horizontal or vertical. Okay, if it's making more vertical make it more horizontal so we're here at a plus twenty eight and it's doing our little, you know, slim ification again, we mentioned that it's the camera that's doing a lot of this distortion either of the nose is looking a little bit larger because we're using a bit wider angle lens and we may be hoped to or in this case whatever we're again...

we're trying to get a big scene and so were again using a wide angle lens is supposed to more of a telephoto either way, this aspect right here is giving us that extra little you know slim ification will call it by the way, in terms of the presets jim, you asked about the presets I have created because this is something that you can save as a preset as in most features in here, um I went ahead and made pre sets for horizontal and vertical slim ification in ten point increments so you can just go click click click got it move on so a lot of the presets are going to be, you know, vignette, I don't want this kind of been yet click click, click got it so you just go through the presets until you see one that you like and then you move on. So whether it's something as simple as thie aspect ratio or anything else associate with exposure milton exposure, I've got ones for middleton exposure I've got ones for shadow checking in hdr effects, so you just simply click through him antique that cross processing. So we've got over one hundred presets that work both for optimizing an image for be able to just being able to click through different tone options that little d sat trick and some, you know, darkened sky jerry a couple of them but you know there's a preset for darkened sky what does it do? No, you guys know how to do it going to hs l goingto luminosity going to blues and dark in that up no reason if you do that on often time, which you do, we'd like darkened skies, especially here in seattle. Probably a lot of times when you get these, you know, fuzzy, hazy, nutso, deep blue skies and having a little button, we just click and it darkens the sky lightened skin tone, click darkens skin tone, click what did I do when in duluth, minn? Osti of h s l just darken the luminosity full oranges. So those are the sorts of things that we do for presets, and specifically, I even created a set for this class of our aspect ratio so you can just click through for that. You welcome fun for me, so I'm going to come up here and we'll take it you nowhere as far as I think I can take it here. But as I mentioned before, some of the things are just dress that the great thing with liquefy is, you know, little dress malfunctions, you know, you girls put yourself in ridiculous clothes completely, um uncomfortable, but it's a just a shifting around of things like that, that is what we're going to dio and this shot here we haven't had nearly enough beefcake for the women in the audience first, we're going to do the tango for this ridiculously good looking hello and in this case we're going to liquefy him because he's obviously out of shape now what we're going to do is we have liquefied because it's just his posture he's so darn casual you should just take him out back and beat him and uh but it's a posture thing, so we're going to use liquefy for both this situation here and for some of the things related around the dress both of these or something. Obviously you're not going to do we took it as far as we could within a doe became a rock, we fixed the color and tone we did a little bit of slim if ic ation, which is actually very easy to do even you know you're doing photo shop just transform but it's nice to be able to do it in here. We've got both of these set we're going to come up here and we're going to open them up and we are going to open them up as objects and used to be that photo shop could not do liquefy to a smart object in other words, it was always destructive. Now it's not adobe is continuing to extend what it can do in terms of, um smart objects, so we will open up both of these as smart objects and while those air opening any questions from the studio audience either here or internet based we're good over here people are asking a little bit about sharpening, but I imagine that we're goingto get that after the liquefy we will do sharpening up to liquefy and we're also going to do the soft proofing I'm embryos to kind of last minute output things that you want to take into consideration so both of those are on the table. Perfect. Okay, so the thing with liquefies liquefy is also one of those kind of ah ha moments where the default settings for the software may not be the best. In other words, if you go into liquefy um you may find if you use the default settings it not working like you thought it was gonna work so that's where a little bit of insight can make it very, very useful we're gonna go filter well, liquefy we're gonna come up here and the thing about unnecessary zoom the thing to remember with um liquefy is as a default setting um it comes up into this mode and this mode right here the non advanced mode is very limited because it is missing the most important feature over here in the toolbar. Very nice that it's been simplified for the sake of the uninitiated as it were, but by hiding the very most important tool available, it means that you're much more likely to make a mess of your image so let's go through turn on the advanced mode and find out what over here is the most important thing to know in liquefy and that is this down here the freeze and the thought mask mode freeze masked tool thaw in other words paint in a race a mask the's are since our analogy is liquid liquefy if you do not want to move something in there, you freeze it okay so in other words, is just a mask to protect the areas that you don't want to move and the alternative is let's say that you wanted to, you know, tuck in our posture here just a little bit if you don't freeze and protect another portion of it, you're going to do one of two things one you're going toe come up here with a little teeny brush and chisel away at his stomach okay little scalloped edges and it's not how you use it it will not be pretty it's not fun it's not anything other than garbage little teeny brushes do not work and liquefy it is not how you want work wantto use big brushes you want to use the center of the brush you want to move whole segments in as a unit, but if I use a big brush here we'll take that up obviously I'm going to be moving his arm in and breaking his, you know arm at the same time that I took his tummy in you have to choose you're either going to get hurt or you're going to have good posture, choose your pain. Obviously I don't want either one of those let me hide that old green arrow and come up here and I'm going to protect a portion of the image. I do not want to change this is going to be the edge of the arm. I don't want that shape to change. Also looking over here at thes brush settings when I'm in the freeze mast, well, I want to make sure that my brush pressure and density is one hundred percent. In other words, I don't want a partially free something I wanted to not move it's a mask, it needs to be protected, so I'm going to simply come up here and make sure that I don't get the edge of the arm and that goes for you. Anything that you're going to dio within the application, if we're working on her face, we're going to move up gels or anything else like sort of attitude, I guess if you're going to look like that, you'd better have that kind of attitude, right that's the that's, the whole per sana is is like, yes, I could kill you with my finger. Yeah, I'm just just is actually other shots brooke shot this couple of lot of shots and there are shots of them just laughing their heads off and actually brought a bed down to the beach at the same time so they're on the bed smiling with clothes on but wonderful couple they're obviously fantastic couple but this is obviously the pissed off you know mean face but just as an example on if I was going to do some official work some you know, lifting up of the neck or anything this was known as the tea area of the eyes nose and mouth you never would want to change with the liquefied by freezing that you confined toon little things move it around and that way you're protecting the skull structure of a person yes they said you'd never want to move the mouth but what if you just want to do a tiny bit of the corner of the mouth lift you absolutely yeah actually that's a really good point here so let's take it especially since we have this guy with the attitude let's just go ahead and we'll we'll do that once we do the arm will come back up and we'll do it because you're absolutely right a fraction of an inch on the corners of the mouth between is a huge difference same thing with eyes and gestures the tension in the brow you know all these things there are essential to re touching those are some of the things I mentioned that jane counters izer is create its subtleties to release tension in the face by suddenly changing the eyebrows and things like that but in this case we've come up here we've done our little freeze to it I'm going to jump back there's actually two tools that you use here the default is what's known as the forward warp tool up here the forward warp tool and that's great and that is actually allows you to push areas in the thing with the push areas in is your push push push you have to do three separate pushes when really what I want is a line so the one that I like let's hide that again is this one this tool over here known as they push left tool push left tool now it pushes left depending upon whether you're going up down left right top to bottom so you're gonna have to try it once to figure out what that's going to do but you're going to now be ableto paint with a line and you're gonna be able to move a line so I actually like the push left to wilmore so let's just go ahead and do it that's probably not the direction that I want to go okay now there's two things that I can do here is aiken one drag up and it's going to go the opposite direction um, that was so entertaining I can drag up, but if you're on artist of any persuasion, you know, moving away from your body, it is an extremely hard motion to control. You never draw this way. You always draw towards your body, so I don't not want to be forced to move up, even though that's probably a pretty easy thing. As in a lot of tools in photo shop, if you want to flip the way a tool works, it's the option kion the mackerel can the pc so holding down the option key on the mac is going to allow me to move in one fell swoop that image in with minimal distortion on the arm and again what I'd recommend if you don't like it one way, don't keep hacking away at it, undo it, command z and try and do it with one fell swoop, okay, don't keep hacking away at the area you want one smooth gesture that's, why we're using that optional kate has changed that way that it works, it works left right up, down you go this way it's one fell swoop and that's our before after, okay, so that is our posture let's do the attitude check with our friend here, and for that I am going to do the the forward warp tool and we'll take it way down what we're talking about here is again as a deep hole now fortunately in the past, cc is actually better than this density and brush pressure defaults back to fifty even though my freeze mask defaulted to one hundred before they shared the same setting so every time you would went go from freeze toe distort you'd have to change your brush pressure and density back down to fifty, which is a good default setting but what we're talking about here is this ability to just do that okay, just up a little bit if we want we can take that down and we'll just we'll exaggerate it just a little bit that attitude we'll we'll we'll do it when we get to their let's change her attitude to that right there is an attitude change right that right there that is one itude that's a different one that was an eighth of an inch should probably and in reality but that is the difference to it if we want to make it that she's actually happy that she's next to what's her name here that right there go first off let's look at it our faces with our fancy fancy let's we'll just we have a smart filter that is the great thing here we could just turn this on or off okay I like her she looks more natural and they came we wantto for a little bit but he still it's you get the idea that's exactly what's going on usually just the corners of the mouth I'm not going to do the whole joker thing but that you can't do that but let's look at again our takes literally two seconds he does not need any liquefy work he needs just a little posture and attitude adjustment do everything that you can in a cr go in is a smart object literally in about two seconds once you got that tool you can come up there pop pop, go back out you're done. Okay, so that's why again little things like liquefy I think are so cool to have in your bat utility bill coming up here same sort of thing especially it gets a little bit tricky when you have these interior shapes here we're going to come up here we're going to go to liquefy, go to a freeze mass tool it defaults back to one hundred. I'll like that. What? We're going to go in and do a little bit of work here I'm gonna come up here and I'm gonna protect the arm here um that I don't need to protect their I want to bring in the waist a little bit okay well, excessive we could even go up in here all you need to do is make sure you're getting some of it that's going to give me access to the interior here I don't want to do any more work there she's gorgeous young bride to be and I think that is fine there anything else related to the hair? Something else I'm not gonna need any more work on, so we'll come up here back now, we'll use in this case I'm going to use my regular forward work tool rather than the push left tool because I am going to do exactly that I'm going to come up here and I'm gonna push this up so that bulge that was taking place because of the two tart dress this over here, whatever is going on in terms of padding, we're going to come up here and just move that out so what? The shape is symmetrical if I want to come in here, I can do a little bit that's that's a free no cost, no obligation little thing going on there so I can come up here and do just a little bert toe exaggerate the little hourglass thing going on and if I wanted to this, this is now now you're getting into meddling write if I want to, you know, slim down a portion of it, this is where you get more into the fashion retouching but I'm going to show it to you just because so you understand how that's done we're gonna go to that push left tool that's why I did this area and here and again that push left is gonna push left holding down that option key. I'm gonna move away from the image always used, like the center of the brush. You don't want to use the edge and hack away like I said, use the brush and that will pick up the area and in the surrounding area. So the distortion is minimal terms of that background and things like that. I'm gonna come up here and that again we'll see if that works for me, we'll do this. This is going to do that push left so this is going to okay, don't do that one fell swoop. We'll see if that works and here we'll tail smaller let's. See if we wantto oops. Not they push left tool. Now we want to do that forward warp tool we just wanted, you know, do a little bit of her hair work. Her hair looks great. Okay, you could we could retouch some things out. But you can, you know, find tune that little fluff of occasion this is again something that men should never be allowed to dio this question that I think you answered it um as you were working there but ah yeah I guess I just wanted to know distance between the push left and then the ford were this far is like when you use what the push left as opposed to the four door um you know, like if you like let's say you wanted to make something a little larger you know, sort of like slim inner down like let's say she looks skinny in this picture let's you know, if you want to enlarge things, they do have a dedicated tool for that that's the bloke tool well, you know what most people do with it and demos I don't need to go there so yeah bloat picture you know, bloat and pinch you have to ones and actually this is the two tools that we're talking about here okay? Bloat and pinch or pucker and of course they were the same tool if you will down the option keep bloat switches to pucker and so it also does that same thing. So um if you did want to will say that the pucker if you wanted to you know slim if I the nose that is something that you could do with that and blow could be used well body parts and the blue expands from the centre you want me to really do because typically that's only for you know entertaining people at birthday parties that's awful brooke, I'm sorry he made me do it. I didn't want to teach that, and I'm not going to do her breast don't ask, I'm not going to do it, not where I was going to be. Okay, good, that shows you were my mind, my mind is that, but you can't, you know, so the ford warp tool is going to be for moving particular things about I would never do that for the arm, because if you think about it, if you use that, you're doing these giant chunks at a time and you could see how I could do this one smooth movement by using the forward warp, so they really do all of them work in concert that bloat in the pucker also good. You've also got a twirl one for whoever in the world knows that, and you've got some, you know, smooth tools and other ways reconstruct. So if you go too far, you can come up with a reconstructed well and it would kind of gently bring back portions of the image. But that's, what we did, the main thing that you need to remember is one you need the advanced mode, because without the advanced mode, you don't have the freeze mass tool. Without the freeze mass tool you can't go in and do any kind of detail work you're going to compromise that neither break the leg you know walk away break the leg walk away another movie reference you guys it's I know it's the end of the day so advanced mode you need it you need forward warp or you can use the push left tool remember that optional key so you actually can use it it automatically now defaults to hundred percent pressure for the freeze and fifty percent for your warping so that's great if you were to do a portion of something like the faces we did for the smile remember with the freezing that you don't want to for the most part certainly this part that the nose and the and the eyes that cheekbone basic cheekbone structure of it and again our there's the this skull which is what you're trying to not do is change that is part of the mouth so in general aside from doing you know, a smile enhancement this is what we're talking about here is disability if again this model this beautiful woman does not need it but you your ability toe come up here and push a portion of the image up is what we're talking about do not do this portion but you can do a little bit of a chin tuck on here and we'll just say okay before we get into into trouble. So here is our before, after before, after came and again, once you understand those things, that's. My whole point in a lot of this week has been the little what I call the secret mickey mouse club handshakes, the default setting. A few leave. It is the default. You'll have problems, chance these couple things, and now becomes very, very useful. And hopefully very, very quick as well. Any questions about liquefying?

Class Description


Get ready to master the hottest new Adobe® Photoshop® image-editing tool. Join award-winning photographer and Adobe® Photoshop® expert Jack Davis for an introduction to Adobe® Camera Raw.

Drawing on his Adobe® Photoshop® expertise Jack will demystify Adobe® Camera Raw (available both as a filter within Adobe® Photoshop® and an application within the Bridge application). You’ll learn about using Adobe® Camera Raw as a flexible image-polishing tool that enhances your photographs in less time.

You’ll also learn about sophisticated retouching techniques from eye and teeth enhancement to skin color unifying. Jack will also cover creating special effects like high key black and whites, selective hand tinting, cross-processing, and changing depth of field.

Whether you’re a Adobe® Photoshop® beginner or a long-time user, you’ll leave this course with the tools needed to easily create jaw-dropping images with less effort.


Software Used: Adobe Photoshop CC 14.1

Lessons

1Introduction and Overview Part 1 2Introduction and Overview Part 2 3Adobe® Bridge Integration: Workspace 4Adobe® Bridge Integration: Preferences 5Metadata Templates 6Adobe® Camera Raw Interface Insights 7Adobe® Camera Raw Tools and Panels 8Five Step Tango Part 1 9Five Step Tango Part 2 10White Balance and Vignettes 11HSL Global Adjustments and Effects 12HSL Effects and Faux Infrared 13Adobe® Camera Raw Sharpening and Dust Removal 14Enhanced Curves, Cross Processing, and Solarizing 1Five Step Tango Review 2Radial Filter 3Sharpening in Adobe® Camera Raw 4PPI and Printing 5Targeted Adjustments 6Graduated Filter 7Healing Brush for Retouching 8Adobe® Camera Raw Auto Mask Feature 9Adjustment Brush and Recoloring 10Glamour Retouching Part 1 11Glamour Retouching Part 2 12Targeted Skin Color Unifying 13Dust and Scratches Filter 14Portrait Retouching Part 1 15Portrait Retouching Part 2 1Targeted Coloring 2Hand Tinting 3Smart Filter Painting in Adobe® Photoshop® 4Masking and Recoloring 5Radial Filter Retouching 6DeSharpening and Healing Brush 7Adobe® Photoshop® Integration: Diffused Glow 8Adobe® Photoshop® Integration: Panoramas Part 1 9Adobe® Photoshop® Integration: Panoramas Part 2 10Adobe® Photoshop® Integration: Combining Images 11Adobe® Photoshop® Integration: HDR 12Adobe® Photoshop® Integration: Background Eraser 13Adobe® Photoshop® Integration: Liquify Filter 14Adobe® Photoshop® Integration: Content Aware Scale 15Input and Output Sharpening 16Split Toning 17Soft Proofing and Printing

Reviews

a Creativelive Student
 

This was the most comprehensive class on ACR that I've taken. Jack is a great teacher as well as entertaining. His approach was thorough, going through not only tools and their associated panels in ACR but touching on organization in Bridge and in the last few sessions, going through some things in Photoshop that ACR can't do. My mind is blown and I have a much better understanding of everything that can be done in ACR. I was pretty excited to get Jack's presets for ACR as well as most of his images with the purchase of this class. When you open up snapshots of Jack's images, all the settings are there so you get a real feel for where you can take your own images. Thoroughly enjoyed this class and consider it money well spent.