Adobe® Photoshop® CC® Bootcamp

Lesson 93/118 - Layers, Masking Video & Working with Type

 

Adobe® Photoshop® CC® Bootcamp

 

Lesson Info

Layers, Masking Video & Working with Type

We talked about adjustment layers with video. Let's talk about how we can layer layers inside our videos, and have things moving underneath still areas, and modifying those still videos, or still images on top of the videos. So, we're gonna take this image, we're gonna use this image. I'm gonna move this directly onto the video. So I've opened this up already. I'm gonna press V for my move tool. I'm gonna click on this layer, drag it onto my video, press and hold shift. And if you look at it, it showed up right here under the video group. It didn't show up on its own area. So as we said before, if it shows up in this video group, it's gonna attach itself next to here. I don't want it next to there, I need it above here because I want this layer to show up on top of my video so whatever I do with masking will show the video through. So what I'm gonna do is I'm gonna move this out of the video group. Put it up to the top. It's still gonna show itself over here. Now this is not a video. T...

hat's just a regular still image right? So let me go to the still image and move it all the way over here, and you're gonna see where this image is. Now I purposefully chose a very large photograph so that you can see how image sizes and videos sizes work. This image size is huge compared to the video that I'm using this on. So, it's just like any other way. If I wanted to shrink this down, what am I gonna do? I'm gonna free transform it, so I use my command or control T. Well, when I press command or control T, you can't see those handles on any other side. But we have that hot key that's command or control zero. And look at how much bigger this photo is, than the video. It's huge. It's like maybe 10 or 15 times the size of that video. So what can I do? Just press shift and alt, make this layer smaller so that it fits right inside that video. If I press control and space bar, and then right click and say fit on screen, we're now on screen. So now what we're seeing here is that this video, this photo is only taking up this portion of this video. If I want it to take up more and actually rest on top of there for longer, let's just go head and press play right now so you can see this. It's on top. It's on top. Keep going... okay... Boom. It's gonna stop, and now we see what's underneath. Well we need this layer to transition all the way across. So all I'll do is grab this layer right here. You'll see a little timeline, little frame, looks like I can pull a frame, and pull it over. And now that frame, that one single photo, is resting on top of the video. So if I make a selection, for this portion of this layer, which is just our photo layer, not our video layer, I can use my quick selection tool, click inside of here, make a mask. Again, because whatever we made the selection for is going to make the mask for it. That's okay. We don't freak out and restart. Just press command or control I, we get two options for every one of our masks. Now I can see through that port hole. If by chance that mask is not the most clean looking mask in the world, I can clean it up by clicking along inside there. Or, for the sake of it, I can just get a circular marquee tool, elliptical marquee tool, and just do something like that. And then I'll paint inside there on that mask, with black. And we can clean that up. I'll show you how we can still use layer styles with this too. So now if I zoom out, and we press play on our video. Look at that. We got the fishies hanging out underneath the port hole. As if we're just kind of lookin' through that port hole. So I'll go ahead and press stop. It doesn't look normal because it looks like we can just reach our hand right through there right? Well that's where we can start using layer styles in with this to get it to kind of blend in. So if I zoom into this, double click on our layer styles here, this is where things like bevel and emboss become really cool. Press bevel and emboss. Maybe I'll do an up bevel. Get that back a little bit right there. Remember how we cut a hole in there. We cut it just a straight hole, but when we bevel and emboss it looks like now that that's kind of wrapping inside of there. So we got a really good bevel and emboss for that edge. If I go over to maybe a gradient overlay. I was working on the outside area of this. Let's do this first, 'cause what's happening is as I do this gradient overlay, it's actually applying itself to any of the white areas and not the black area that's happening inside there. So let's do this. Let's right click here, and apply the layer mask. Now, after we apply that layer mask, It's gonna have that hole in it, because if we press alt or option, look at this. We can still see through it. Now we'll double click on this. And now we'll select our bevel and emboss. Should interact a little bit differently. And then we'll do our... Gradient overlay. Still doing it on the outside. Ima need to do something else, that's okay. We can still do something else. So we got the bevel and emboss for the outside. If we wanted to kind of make this have like a gradient reflection on it, all we'd have to do it press command or control on that layer to make a selection for that inside. And then make a new layer, and whatever we fill this with, it doesn't matter what we fill it with at this point. Let's just go ahead and press shift, F, five and we'll fill it with... White... Oops. (laughing) (audience chuckling) That's what happens when... What we're gonna need to do is we're gonna need to invert our selection and then fill it with white. To invert the selection we press command, shift, and I or control, shift, I. Command, shift, I on a mac and control, shift, I on a PC. That'll invert that selection, and then we'll fill this layer. Shift, F, five with white. And that's gonna fill that area in. Now because, as we said before, anything that we do to a layer with layer styles, if we drop the fill, the layer styles will still happen, but the fill will not allow that white color to show through. So basically what I needed, was I just needed something to fill that space. Now if I drop this fill down and double click onside this layer and get the layer styles open. Now when I bevel and emboss this I get more of a glass look. It's a little bit different than the other bevel and emboss that we had. Now if I hook my gradient overlay, now you see what I was trying to do there right? I'll go to reflected and get a reflected gradient on here. Maybe adjust the scale a little bit, so it's a little bit smaller of a reflection, and then adjust the angle. Drop that opacity a little bit. Just so that it looks like its got kind of like this sheen on it. Almost like it's a piece of glass. To get it to feel like it's part of the port hole. Now because this is a third layer that we've added to the whole stack of everything, if we were to leave it without making this larger, it would only be there for a very short period of time. And then once it crosses over right about right there we're gonna start to see that glass. Not cool. So we need to do, expand this out to the very beginning. Expand that out to the very beginning. Now this covers everything. See that. Now it actually looks like we're kind of developing our own little video in here, inside this photo. Now, you might not find yourself doing things like this. But if you practice these types of things and you work with different videos that you have and putting overlays on top of it, that when you do pull in a regular video just to put an adjustment layer on top of it, it's gonna be a no brainer, it gonna be a breeze. So let's take this one step further. Let's add some text to this, and make it look like the text is gonna fly in and say, "pretty fishies" okay. So let's go head and add a new layer. We'll press T for our type tool, and we'll type, pretty fishies. And I'll move this right over here. And we'll just change this too. There we go, that's a cool font. There we go. I like it. It's very pretty fishy font. (audience member giggling) Again, now we're just working with type. We can do whatever we want to this type layer because it's free from all of the video things. It's basically gonna turn the text into a video. It's turning that one layer into a spread out of video. So if we double click this and press alt, control, and A, and select everything. Change the color to something like white, or we'll use blue. It's a nice blue on top of that yellow. Color theory. Let's use color theory, it always works. (laughing) If I were to click this and spread this over to here, that's now gonna make sure that that text is always there. Alright... One thing that we can do with this though, is that that's all stable. All that stuff is stable, it's all stagnant. I did say that we're gonna get a little bit more advanced here. So if I click this drop down right here, right here. You're gonna see transform and a little ticker clock, opacity and ticker clock, and style and a ticker clock. So now, (mumbles) thinks like, "Oh gosh, "I'm gonna just shy away from that. "I don't wanna do anything with that." What we're gonna do is we're gonna make it look like this is pulsating with opacity. So that the pretty fishies text is gonna allow the underlying layer to show through, at given points. So if I turn on the opacity right here, this little ticker box, it's gonna start a little thing on the timeline right down there. Pay attention to that. That's basically saying, Photoshop is saying okay, "I'm gonna record everything you do "with the opacity of this pretty fishies text." As you move across the timeline, if I were to do something like this, like right here, and go and drop this opacity down to 16%, it's gonna make a little tick. If I move up to here, and then bring that opacity up, it's gonna make a little tick. It's gonna record everything that I've done with the opacity of this layer. Now go head and press play. See how it's slowly starting to fade out? Once we get to this point, it's gonna fade out to there, right to that 50%. And then it's slowly gonna build itself up. Let's go head and speed this up a little bit. Let's take these and just move them over. Space bar will also press play. See how it's kind of slowly fading out? Fading back in. Fading out. Fading back in. You're basically telling things what you want them to do within that timeline. Now we can also do things like transform too. So at this point, right about here after it fades back in. Let's say I want it to zoom off the screen and just disappear. If I turn transform on here, then anything I do to transform this layer, which is the control T command, I can make this disappear. So I'll press command or control T on this text. I'll move this over to about here. Oops. Let me move this over here first, then control T. And if I press and hold shift and move this off the screen... It's gonna record that. So once I stop recording that, go back... commit to it. Go back, then press play. It's now gonna zip off the screen. Depending on how far I went in that timeline, it'll happen faster or slower. So if you put them really close together it'll just go (mouths fast effect). If you do it far apart, it'll just slowly creep off the page. So that's how you can incorporate things like transforming, opacity, and style into a video. Which again, these types of things I do on videos that I'm putting on social media or something like that, that I wanna grab the attention of, have the text, like maybe I'm talking about the pen tool in Photoshop, and I've got the video going inside, and then on the top and the bottom I've got the text slowly pulsating larger and smaller. So that as you're looking at it, you're like, "whoa..." (audience member laughs) You just keep... You know you don't even know it. Then you go (sucks up spit) 'cause you're drooling you know you get to wiping drool off you're face. Yeah it happens. So if I was done with this video, let's say like right here is where I would probably crop this out and just press probably at this point just go ahead and hit my cut, and I'm cutting my text to delete that text. I'll come down to this video in this video, and then cut. It's gonna make new layers, so I'm gonna delete those. And then come down to this video and then cut. And then delete that. Let's say that was as long as I wanted my video to be. Just press play on that, cut off the edges of it. We got the pulsating text. We're good to go. Text should disappear once we get to about here. Press play, and it's gone. That would be my video. I'd probably speed up that text so it moved a little bit faster. But now, that text could have appeared off the page. I could have zoomed it in, had it stop, and then zoomed it out, just by recording the transformation period. So you just have to know that anything you record in there is gonna start that recording process. And you wanna make sure that you turn those off... Turn the recording at that stuff off... after you're done, so that it still stays there, but you just turn that recording off. If we wanted to export that out, just press the export button at the bottom. It's a little arrow that's pointing out. It's gonna ask you a series of questions of how you wanna export this. I would typically stay with whatever's the highest quality H.264... H.264 is your highest quality. You want it to maintain the document size of that 1280 by 720 at its highest quality. All the rest of this stuff, just go ahead and leave it the way it is. And then just change this to whatever you want to change it to, and then export it out. I'm not gonna do that right now, 'cause it could take anywhere from five second to a minute and a half. And then I'd be sitting here trying to fill in the blanks with stuff that we don't need to talk about (laughing). So I'm just gonna go ahead and if I were to press render, this would put it exactly where (mumbles) it's going to put it in this folder here. So I can select what folder I want it to go into. I could just select my desktop, and then after I've selected that folder, press render, and that video will render itself out. So that is the basics of video with layers. You can obviously dig really deep into that and pull more into that.

Class Description

Adobe® Photoshop® CC® is a valuable tool for photographers, but it can also be intimidating. In this all-inclusive 20 lesson course, you’ll go from opening the program for the first time to creating images that really stand out. Join Blake Rudis, Photoshop® expert and founder of f64 Academy, as he shows you how to maximize your use of Photoshop®. Topics covered will include:

Week 1
• Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
Week 2
• Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
Week 3
• Smart Objects , Transforming, Actions, Filters and Editing Video
Week 4
• Custom Creative Effects, Natural Retouching, Portrait Workflow, Landscape Workflow, and Composite Workflow

Don’t let the many aspects of Photoshop® prevent you from maximizing your use of this amazing app. Blake will help you develop the confidence to use your imagination and create the images that you will be proud to share with your clients.

Software Used: Adobe® Photoshop® CC® 2018

Lessons

1Bootcamp Introduction 2The Bridge Interface 3Setting up Bridge 4Overview of Bridge 5Practical Application of Bridge 6Introduction to Raw Editing 7Setting up ACR Preferences & Interface 8Global Tools Part 1 9Global Tools Part 2 10Local Tools 11Introduction to the Photoshop Interface 12Toolbars, Menus and Windows 13Setup and Interface 14Adobe Libraries 15Saving Files 16Introduction to Cropping 17Cropping for Composition in ACR 18Cropping for Composition in Photoshop 19Cropping for the Subject in Post 20Cropping for Print 21Perspective Cropping in Photoshop 22Introduction to Layers 23Vector & Raster Layers Basics 24Adjustment Layers in Photoshop 25Organizing and Managing Layers 26Introduction to Layer Tools and Blend Modes 27Screen and Multiply and Overlay 28Soft Light Blend Mode 29Color and Luminosity Blend Modes 30Color Burn and Color Dodge Blend Modes 31Introduction to Layer Styles 32Practical Application: Layer Tools 33Introduction to Masks and Brushes 34Brush Basics 35Custom Brushes 36Brush Mask: Vignettes 37Brush Mask: Curves Dodge & Burn 38Brush Mask: Hue & Saturation 39Mask Groups 40Clipping Masks 41Masking in Adobe Camera Raw 42Practical Applications: Masks 43Introduction to Selections 44Basic Selection Tools 45The Pen Tool 46Masks from Selections 47Selecting Subjects and Masking 48Color Range Mask 49Luminosity Masks Basics 50Introduction to Cleanup Tools 51Adobe Camera Raw 52Healing and Spot Healing Brush 53The Clone Stamp Tool 54The Patch Tool 55Content Aware Move Tool 56Content Aware Fill 57Custom Cleanup Selections 58Introduction to Shapes and Text 59Text Basics 60Shape Basics 61Adding Text to Pictures 62Custom Water Marks 63Introduction to Smart Objects 64Smart Object Basics 65Smart Objects and Filters 66Smart Objects and Image Transformation 67Smart Objects and Album Layouts 68Smart Objects and Composites 69Introduction to Image Transforming 70ACR and Lens Correction 71Photoshop and Lens Correction 72The Warp Tool 73Perspective Transformations 74Introduction to Actions in Photoshop 75Introduction to the Actions Panel Interface 76Making Your First Action 77Modifying Actions After You Record Them 78Adding Stops to Actions 79Conditional Actions 80Actions that Communicate 81Introduction to Filters 82ACR as a Filter 83Helpful Artistic Filters 84Helpful Practical Filters 85Sharpening with Filters 86Rendering Trees 87The Oil Paint and Add Noise Filters 88Introduction to Editing Video 89Timeline for Video 90Cropping Video 91Adjustment Layers and Video 92Building Lookup Tables 93Layers, Masking Video & Working with Type 94ACR to Edit Video 95Animated Gifs 96Introduction to Creative Effects 97Black, White, and Monochrome 98Matte and Cinematic Effects 99Gradient Maps and Solid Color Grades 100Gradients 101Glow and Haze 102Introduction to Natural Retouching 103Brightening Teeth 104Clean Up with the Clone Stamp Tool 105Cleaning and Brightening Eyes 106Advanced Clean Up Techniques 107Introduction to Portrait Workflow & Bridge Organization 108ACR for Portraits Pre-Edits 109Portrait Workflow Techniques 110Introduction to Landscape Workflow & Bridge Organization 111Landscape Workflow Techniques 112Introduction to Compositing & Bridge 113Composite Workflow Techniques 114Landscape Composite Projects 115Bonus: Rothko and Workspace 116Bonus: Adding Textures to Photos 117Bonus: The Mask (Extras) 118Bonus: The Color Range Mask in ACR

Reviews

a Creativelive Student
 

Amazing course, but don't be fooled into thinking this is a beginner's course for photographers. The problem isn't Blake's explanations; they're top. The problem is the vast scope of this course and the order in which the topics are presented. Take layers for example. When I was first learning Photoshop (back when we learned from books), I found I learned little or nothing from, for example, books that covered layers before they covered how to improve/process photographs. These books taught me how to organize, move, and link layers before they showed me what a layer was actually for. Those books tended to teach me everything there is to know about layers (types of layers, how to organize them, how to move them, how to move them two at a time, how to move them two at a time even if there are other layers between the two you're interested in, useful troubleshooting tips, etc. ) all before I even know (from a photographer's point of view) what it is the things actually do. The examples of organizing, linking, and moving mean everything for graphic designers from Day One, but for photographers not so much. Blake does the same thing as those books. Topics he covers extremely early demand a lot of theoretical imagination for a photographer who doesn't already know quite a bit about what he is talking about. Learning about abstract things first and concrete things later only makes PS that much harder to understand. If you AREN'T a beginner, however, this course is amazing. I thought it would be like an Army Bootcamp, taking you from zero and building you into a fit, competent Photoshop grunt. Now I think it's more like Army Bootcamp for high school varsity jocks. It isn't going to take you from the beginning, but the amount you'll get out of it is nonetheless more than your brain can imagine. I've been using PS for years to improve my photographs, and even to create the odd artistic composite or two. The amount I've learned in the first week is amazing, and every day I learn something -- more like many things -- which I immediately implement to improve my productivity and/or widen the horizons of what I can achieve. If you ARE a photographer who's a Photoshop beginner, I'd take very seriously the advice Blake gives in the introduction: Watch one lesson, and practice the skills and principles you learn in that one lesson for two weeks. THEN watch the next lesson. You can't do that of course without buying the course, so it's up to you to decide whether you'd like to learn Photoshop and master Photoshop all from the same course. Learning it first and mastering it later will cost more money, but I think you'll understand everything better and have a much more enjoyable ride in the process. As for me? I'm going to have to find the money to buy this course. There is simply way too much content in each lesson for me to try to take on all at once, but on the other hand I don't want to miss anything at all that he has to share.

Esther Gambrell
 

WOW!!! I've been purchasing CL classes for several years now and have watched HOURS of "How-To Photoshop" classes, but this is the first one I've actually purchased because of the AWESOME BONUS content!!! SERIOUSLY??!!?!? A PLUG-IN??? But not only that, Blake is SO easy to understand, and he breaks down concepts in different ways to connect with different people's learning styles. I REALLY appreciated this approach because I am a LEFT-BRAINED creative that has an engineering background, so I really connected to what Blake was saying. THANK YOU FOR THAT! There are TONS of Photoshop courses out there, but I found this one to be the most helpful in they way Blake teaches concepts so that you know WHY you're doing what your doing. I feel like he taught me how to fish with Photoshop to feed me for a lifetime instead of just giving me a fish to feed me for one day. This is the BEST overall PS course out there!!! Thank you!!!!

Sonya Messier
 

I'm been using Bridge, Adobe Raw and Photoshop for 12 years. I thought I knew those programs until I started to follow Blake and do this Photoshop CC Bootcamp. This course is AMAZING. I love the way Blake teach, brakes down concepts and tools... excellent teaching qualities! I'm half way in this course and I change all my workflow already. Much better results and better use of what Adobe offer me. This course is an investment! When I will be done, I will listen it again. Great job and congratulations on your success Blake!