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Class 3: Part 2/Q&A

I have 25 questions that represent a distilled concoction of the questions that you all asked over the last three weeks. So Friesen says, question number one from Dane actually also came from about 20 other people. In every instance, we picked a person's name who actually sent us the question, But many of you asked the same question either directly or indirectly. So that's why we picked these 25 questions to answer. Now I do want to say that I personally find these sorts of things very valuable. Not everybody does. I would encourage you to listen to this part of the program, even if these aren't your questions, because you may not even know enough to ask these questions. So a question might be asked that gives you powerful information that you would have known to ask, cause you don't know what you don't know, right? So pay attention this because I think it's some good stuff. Uh, the first question comes from Dane, and it is simple. Does aperture have a graduated filter tool like light ...

room does? This is a simple question. I got this from a lot of people. The answer is no But But here's what it does. So we could go to the adjustments pain, and we can go to quick brushes so we can't do that because I know we forgot to reprocess. Now we can go to quick brushes and we could do something like burn and get a brush here and make it really big. And we could sort of, you know, fade this in manually in little steps, etcetera, and you could get the same kind of effect of graduating. In effect, it is not nearly as elegant. And if Apple's listening and I know they've been watching these seminars because they've been communicating with me afterwards we would like this. We would really like this. This is one of the few things in my slight foray in flight room that I have found that I think would really be helpful in aperture. And since we've done all these other cool things an aperture, we've basically turned aperture now into a pixel editor. Up until aperture three, when people would say aperture of Photoshop, I would always say wrong question because Photoshopped pics letter apertures, organizational tool. But now I say, Well, still, it's wrong question, but not as much as they used to be, because aperture can kind of be both. So I like to see. I'd like to see this tool at it. But the answer Dane and the other 20 of you that asked it No, it does not. John asks. Should I create an aperture of all for my backups? Or just use time machine? I'm so glad you asked John and the other 20 of you that asked or 40 or 50 or how many of their work. Because I really relish being able to describe my complete disdain for using time machine in this particular situation. The answer is fuck do not times one billion ever times another 1,000,000, ever. And I'm using these billions to save time cause otherwise I'm going ever, ever, ever, ever, ever, ever, ever, ever, ever use time Machine is your backup for aperture If you read the documentation from ample time machine is not designed to back up very large files Very well. And it is just not the right system for backing up your photographs in aperture apertures. Vault is a far more elegant, far more trustworthy system. Now, will time machine work? Yes, it will. Is it a best practice? Absolutely not. I would never, ever, ever, times like a 1,000,000,000. And yes, I just made that number up. I would never do it. I find the vault to be very trustworthy. And here's why. I do find vault very trustworthy. I have lots of libraries and occasionally move stuff around, and I have interns and things get messed up, and I can tell you having done it several times. Restoration from the vault works. In fact, I went on a little demonstration tour Macworld a couple of years ago where I basically did a demo all day long where I was crashing Apertura libraries and restoring them from a vault. I did it over and over and over. Now Time Machine is improving as a product. When it first came out, it kind of couldn't suck enough. It sucks so bad it couldn't suck enough. But it's in better. It's better. I would never rely on it for very large files. The documentation says not to. If you read the docks, they say, don't Apple says. Don't so don't rely on time. Machine. Rely on the vault. Devolved system is beautiful. It's elegant. It's quick, it's reliable and it's for me. It's the primary reason that I don't want to go use light room because I can't. I don't have evolved. I've become very I'm very paranoid about losing my focus. I've lost eight digital files in my whole life, and I still cry and weep for those eight photographs because they were of team or tigers in Kamchatka. Have you been to Kamchatka? Do you know what Kamchatka is? Have you ever heard of the term Siberia? That's where Cam Jack is. So it's not like I can run across the street and remake those photos. Oh, yeah, team or tires kind of extinct. I kind of don't have any more chance to shoot those. Anyway. I don't wanna lose photos. You the ball, my opinion. But that's what I'm being paid this year. Ellie asks. What can I do to speed up my review of newly imported images? I want aperture. That was emphasis mine to be at it as fast as photo Mechanical breeze browser. Now those are programs breeze browser and particulars. Windows. Uh, thing. I know exactly what you're talking about, Ellie. And those of you who asked a similar question. You want to make large projects move faster, you're importing, You're just dealing. We got a lot of previews to deal with. Aperture has away, and it's very simple. All you have to do is hit the peaky when you hit the peaky notice when I hit the P here and it see how it's yellow around that image and not yellow when yet the peaky. That's the quick preview mode. What you've done is disable apertures editing tools and moved it into a mode where it's just going to show you a quick preview of everything. So if you want a breeze, browser or photo mechanic like Boom, I just want a whiz through 10,000 images. Go to the P, hit the P, get everything going yellow, and then you'll be in this quick preview mode. Now what will happen invariably if you're not used to this is you have hit the P and then you'll see a photograph. You're like, Oh, man, that's, um, nasty chromatic aberration in that puppy and you'll go over here and ain't nothing gonna work and you'll be going. My apertures broke head. It's not. You just got to hit the P again to get back to where you can edit the photo. Okay, so that is the answer to that question. From my point of view. Thank you. And by the way, all these questions there may be other answers that would work. I'm giving the answers based on my experience. Okay. David asked. What's the best way? Toe relocate reference files from one drive to another. And this is sort of along the lines of the question we've gotten about splitting libraries, etcetera. But, you know, I'm gonna answer it from here. This is really straightforward. You go appear to file and relocate, Master. Now what happens in file relocate Master is you get asked where you're gonna put it. Now what? This is on Lee going to do, though, is move the master. This is gonna move all the other stuff so we'll talk about that later. But if you do have referenced libraries in particulary this is important. Remember, we talked about the difference between referenced and manage libraries in a managed library. You are letting aperture take care of everything. Aperture knows where your pictures are. Aperture takes care of your pictures in a reference library. You're holding your hand up on going. I will be responsible. I will tell you where my images are at all times. But one ends up happening is you get with little 500 gigabyte drives and it fills up and you go, Oh, I got to start some images on another drive. And pretty soon you got all these drives your like where aware is my team or Tiger photograph? Well, pretty soon you start to lose track. You need to figure out where the stuff is, and you in order to work this properly so that aperture can be aware of where these masters are. You want to use this relocate masters again? There could be other ways you might want to use, but that's what I would do. Tammy, ask us, asks us, Does Apple to use previews or masters for slide shows? You know, I would have never thought to ask most the questions that I'm going to be reading to you by the way today, which just shows you how much how difficult it must be to be an engineered apple because the things that people come up with, I mean, it just like I can see him going, you know, at Apple. Like, who would have thought somebody was gonna ask? It turns out that I know the answer to this, though. Um, it uses previews. It does not use the masters. And the reason is simple. When you look at the slideshow export, the resolution is pretty low. I mean, to make a DVD, the resolution is much lower than to make high quality print. And since the previews are lower resolution, this speeds up the slideshow process. Both the making of the slide show. It's makes the smooth performance where you see the transitions don't get choppy. Have you ever watched a slide show on your computer or the transitions are kind of like this? It's because you've overwhelmed the process or not enough memory, whatever. This is the way that apple solves this question. But if for whatever reason, um, Tammy looking at your slide show, you say all right, Mom does not comfortable with the quality of this image. You can change that. We did this, I believe in week one. But you go here to aperture to preferences, and sure enough, um, you know, you've got the ability here with all these different things to change your J pig and decide how what the quality is going to be, um, previews or right here. All this stuff. Just pick whatever you want to pick and make it change here and then now affect you and slide show. So like, let's say that at the moment you'll see that I've got my photo preview quality said at seven. And my limit. I don't have it limited, but, you know, let's say you had it at 12. 80 and you decided, or half size you wanted it bigger. You could set it to don't limit, and then it would be the actual size. But I want to warn you, if you do this, your slideshow gonna room let's go slow down depending on your processor, your ram, your hard drive speed and all that kind of stuff that makes sense. Did I did explain that well enough. Okay, so the answer is it does not use the masters. It uses the previews, and you can change the quality of that in your preferences. Don't do do do do do do do may, a young woman named May wrote and I know she's young woman has actually talked to her offline. Uh, her and a bunch of other people, um, commented when I showed the loop last week, Said I switched off, centered loop in the loop options and got the old style aperture loop, which is kind of cool. But now I'm stuck. How do I get back to the new loop? See, this is maybe one of the Onley disadvantages to the exploration. I recommend. Every once in a while, there is a black hole, and this is one of about five in the program that I know of almost all the rest of them. There isn't a black hole, but this one there's a black hole. So we hit the blue button and you've got this cool loop. We've talked about this. Now we're gonna click on the little triangle and you'll notice that use centered loop is selected. This is the new default. An aperture three. If I turn this off. Okay. Look what happens. We've got the old style aperture loop. Does anybody remember this from the good old days? Aperture one. So you put this little thing here and that little cursor point shows you the bigger point blah, blah, blah. Now you'll notice that the little triangle was gone. So how do we get back? Because it's a little triangle we took. It's like one of those off ramps on the freeway where you take the off ramp and you think I'm just gonna get something to drink, and then I'll get right back on and then you find out Next off ramp, 27 miles down State road, non existent. Um, this is one of those moments, so I did not know the answer. But you know what I did? I hit the good old fashioned control. He is a guess, and sure enough, loop options. And sure enough, you centered loop, and we're right back where we started. If you're one of those people that says, Hey, I like the old fashioned loop, it's still there. Turn off the center loop. But then, if you decide you want to get back to here, just remember our good old friend, the control key. By the way, the control key is kind of like aspirin. It's pretty much good for everything. If you're just not sure what to do in aperture just start pressing the control key. At some point in time, you'll be glad you did, Will asks. How can you customize the toolbar? Commands an aperture? Um, this question came in a lot because people like, Well, my what was really happening? As people were saying, Well, I looked for the thing in in the toolbar that you showed, and mine doesn't have that because either they or somebody else who uses their computer had customised the toolbar. So there is some. There is some danger and customizing toolbar, but you can. You can do this really quick. Just you want to hit the control key again. You know, we're doing the control key and click and you'll see this little customized toolbar fly out. Click on that and Bubblegum, look at this. We have a cornucopia, a veritable cornucopia of options. You can have any of this stuff show up on your toolbar. In fact, my prediction is shortly after this airs that everyone will go load every single one of these on their toolbar, which is probably not the best practice. But if there's stuff here that you use all the time, that should in fact, go on the toolbar. So there you go. That's all there is to it. You control. Click on the toolbar. You see this? Now? What's gonna happen is people say I controlled clicked on the toolbar. Nothing happened. Remember, the next step is slide down to customize toolbar. And there you have it. You can simply pick the things you want to be on there and you are done. That is the answer to that question. Um oh, and we'll also wants to know Second part of the question, I just noticed. How can you customize the command, the command choices? Okay, go toe aperture, and then you want to go to commands and then go to customize. And this is for all of your shortcuts. I've still got this loop here. For some reason you get this is for all of your shortcuts. You can change the shortcuts if for some reason you think see, shouldn't stand for crop but our should, which is sort of how light room does things They take the second letter. I'm like, I would like to talk to that adobe engineer and ask about their upbringing, But in any event, you can change everything here But remember the danger of this. If you make your own little, you know, menu commands, shortcut list that works for you. And then you're taking training from somebody like me or over Kelby training or somebody else lynda dot com. Or you read a book from Apple or nothing's gonna jive. So remember, Yes, the question was, Can you save is a preset And you are a brilliant young man because the answer is yes, you can, so you can go back and forth between your own set and the standards set. So it works the same way as anything else. Um, you know, you've got all these different main menu commands that you can work on, and when you make a change, you can click on the F and say, You know, I want to change it to something. Then this little save button, will it activate and then you can save that is different set. Okay, that makes sense. A lot of power in this aperture interface. I don't know of any program that gives you this much power over everything in the way it looks that it's really quite astounding how much power that you get um, now, this is no doubt my helper Claudia, who helped put together this list. I think she did this just a sort of a fun thing. The next question comes from Tom. Com says, How do I restore my customized to a bar to the default to a bar commands? So this is Ah, this is the way things work for us. So if you'll remember, we control clicked on the toolbar and we went to customize toolbar. And then we had the option of doing all this stuff. And later on, if you get to this and you go while I really screwed up, I got the wrong stuff. How do I restored? See this right here, This little square box. It's got all this stuff in it. You just drag this back to the toolbar, and then you right back to defaults. So that is the answer to that question. You can customize and you can uncustomary eyes to your little hearts content, and you can always get back to the default position. Ellen asked in retouch adjustment. What's the main difference between the repair and the clone brushes? All right, let's get into our retouch adjustments so we're gonna go appeared. Adjustments retouch, and this calls up this dialog box and you'll notice that there are two options. Repair on the left clone on the right, and if you click repair, you have the detect edges and automatically choose shorts. Source. If you have the clone, you just get this so they're virtually identical. But there are a few changes I can option click an area and then painted over it with clone. If I click repair, I can option click, and it's gonna try to blend it. You need to experiment with each one. In certain instances, Clone will do a better job in certain INGE's instances. Repair will do a better job now. I've done a test on this and I'd say probably 70% of the time. Repair does the best job because it tries to act like the healing brush does in Photoshop, and it tries to. It tries to match everything as best it can. I don't think it works quite as well as it does in photo shop yet, but it's certainly on the right direction. I do want to point out when you're going to use repair these two dialog boxes. Um, they're important to know about Detect edges will try to protect your edges for you and this automatically choose source. If you don't want option click, you can just go ahead and let it choose the source for you. And it will search the surrounding pixels and trying to make a best guess. And this works really well. If you've got, like, a little teeny blade a graph somewhere that you don't need. But if you have a major correction, don't rely on that. You do that, don't you do your own option click and you find the source that you want. You want to choose, and you use that. But I think if you experiment the way I did, you're gonna find about 70% of the time you want to stick with repair. Yes. Carry. You change that back. If you wanted as faras, once you've made the switch like, oh, you see this erasing, you can just click the reset button and away it goes. Or you could simply turn off retouch. Whatever you wanted to do question was to get rid of it, you could just always, always use this reset button. If you don't like what you're doing. Takes takes really good care of it. Kind of farb depth where I was trying to explain that, but I think I demonstrated it. Right. So if you're in doubt about what I say, look at what I do because I know I know what to do already. James, what's the difference between thumbnails and previews? An aperture. Have you ever wondered what's the difference between thumbnails and aperture? Aperture and previews an aperture? Because I have I'm not gonna go. I sit around, Go. What's the difference? I checked with white coat guys and they told me, Ah, thumbnails are 10 24 pixel wide representation of your photo that cannot be manipulated. Can't really do anything with them. They're just there so that when you're like in browser mode, if you're looking at the thumbnails, you like Earner are you know you're just browsing browsing this me browsing Dooby doo doo can't do anything with him if there are thumbnail. Now, if you have created previews for your photographs and if you are with us in week one, it was my recommendation that you do create previews on import then that is a J peg file and that J pig file can be drug out of aperture dropped on your desktop imported in I photo I movie anywhere that you can use a j pick the thumbnail can't the preview can. So that's the difference. So if you're thinking I've got these thumbnails, what the heck do I need previews for? That's what you need previews for. You need previews if you want to take these images someplace else. If all you need to do is browse through him to decide which one you like the best. Don't worry about making the previews. But if you want to go somewhere with him, you need previews. See that? That I would have never thought to ask that question. You just you you you have to Yeah, you have to make a preview to make an adjustment. You can adjust the thumbnail. Can't do anything to thumb now other than wave at it as it goes by. It's just there. Alrighty, Susan asks in aperture to There were two kinds of folders yellow and blue in aperture three. There's just blue. Why all right, I wanna say new folder and you'll notice the untitled folder, which I am going to name Blue is indeed blue. And if you were a user of the old aperture, there were also yellow folders and Susan wants to know why have the actual answer? Nobody knows. However, what I do know is an aperture three. There are just blue folders. So apparently for some reason, the yellow and blue folders and aperture to were superfluous. So we've just gone to blue. I'm guessing that this was the kind of decision that Apple spent old three weeks and a $1,000,000 on somebody in a corner hired consulting firm to decide what color. I don't know. I'm just getting my kid apple I love. Anyway, there's just blue. As far as I know, I cannot find a single source. Nobody that I have talked to knows the answer. If you know the answer, you claim to know the answer. I will vet it, send it to me, and I'll recant what I just said. I don't know, I can't find, and I've talked to every person I know all the guys that have written all the aperture books and talk to them. Talk to some people that nobody can tell me. I don't really think it matters. But, Susan, you're the kind of person that wanted to know. So I tried to find out for you. Lamar. Ask, Can I install aperture on both my desktop and my laptop? Absolutely. Lamar, you sure as hell can just don't try to run in both at the same time. You get a little air message unless you're not connected to the Internet. That's how you defeat that. But if you're connected to the Internet and pretty much everybody is, there's apparently some sort of past failed tests that aperture goes through checks real quick with apple to see. Hey, is it cool them on when apple goes? I don't know. Yeah, yet you're cool. Oh, no. Sorry. You're on. Your laptop were here. You can't be on over here. It knows by the serial number. What's up? So, technically, you're not supposed to be able to run it on. It's a violation of your license agreement. Your Eula and I know on days like this Memorial Day where you got the day off, you sit around reading. You'll is, don't you? There's like, Honey, don't bother me. I got to read the Eula. Well, it's a violation of your agreement. I'm the kind of guy. And yes, I'm kind of straight laced this way. I like to follow my agreements. And when I click that box, I made a promise. I'm gonna live up to it, but to help you if you got everything connected, the Internet can't run in both same time. But yes, you can install them both places. A sued S o. D. I have no idea if I pronounce that right. I apologize, Mr A or Miss A. But you wanted to know. How can I make the video files I import in tow? Aperture smaller. I want to import them in my movie where there's a two gigabyte limit. When I trim them, it doesn't work Any idea? Well, the reason it doesn't work when you trim them is that if you just trim them and we'll send that project over, that's nondestructive, so it won't work. But if you trim it and then export that particulate er file as a version, that version is shorter and smaller than to this. All stems from the fact that some cameras were able to make four gigabyte video files, but I photo can only handle, too. So if you do a four gigabyte file, I photo goes. Sorry, can't help you. He's trying to short it or she's trying to shorten it for me. What works is I export the version, so it's like anything else will go up here that my Rafter show And I got my little video over here somewhere United I 90. That's going, Thank you. So I'll go to rejects and then I can see it again. Somewhere there it is. Here's my little video so I could go and I've made my I've already done my trim. And in this case I could take this file and treat it like a photograph and say file export version and noticed that the export presets are not available because this is a video, so it's not gonna give you stuff like PSD or tiff or whatever. It's just going to send it out as an M. O V, and it's gonna send it out. Is this trim de movie that I made? So that's what works for me. If there's another way, somebody write to me and I'll post the additional information At photo focus dot com at a later date. But that's what works for me. Probably the best thing to do is not shoot four gigabyte videophiles. We'll have to mess with it, Carl asks, and we've sort of asked this question. Answer this question. But it all answered. Specifically, call Ask. Is apertures video editing feature good enough to replace final Cut pro or even I movie? No, Carl, in my opinion, is not because it is not frame accurate. And when you're editing video professionally to make serious productions, you want to be frame accurate when you're working at 30 frames a second, and there's like a specific cut you want to make. You can't do that in aperture yet my prediction is you'll be able to, but it's not frame accurate, and you know it's just not even designed to do that. I mean, aperture was not designed to be a final cut pro replacement. That wouldn't be a very good business decision by Apple to create a $299.100 $99 product that's gonna compete with, like, $1000 product. So, no, but it is fun to be able to just organize your images. I think that's a really valuable aspect of it and maybe somebody with more video experience than me. I've only got a couple of years serious. Video experience would have a different opinion, but that's mine. Lawrence ask. I'd like to transfer my images between libraries, but keep the adjustments I've already made. Is this possible, or am I dreaming? Lawrence. I really have no idea if you're dreaming, but I can tell you it's possible. In fact, no problem. Or, to quote my good friend Donald, no problemo. The adjustment should stay with file just fine. So unless you're just exporting the masters, if you're just exporting the masters, you're exporting what's equivalent to the raw negative. The original digital file that came in from your camera. There won't be any adjustments. Go with that. But otherwise you can. You can export a project and drag it in Is another project or a library, and everything you've done to it will survive the trip. I've done it many, many times. Unless there's something wrong with your particular situation. I don't know why that wouldn't work. So, Steve asked. I'm trying to decide between a Mac book pro and a Mac book air for running aperture. Really? Steve. Really? Stadi, Stevie, Stevie, Stevie. Um, listen, I have a Mac book pro and I have a Mac book Air. They're both fine computers, but, you know, have a Ferrari and I have a sob. They're both fine. Car is not done for the same thing. You need the Mac book pro Bubba. You know, the Mac book air is not in any way, shape or form designed, you know, to run aperture, you need a fast GPU. The air ain't got one. You want the Mac book pro with a lot of ram? So there was a sub question where Steve wanted to know. Is it just the RAM difference when the Ram is a factor? But it's the GP. That's the big difference. You don't have a GP. Plus, you've just got a USB port, which means you're not gonna get really great performance out of an external library because you want FireWire for that. It's really just not It's not even close. I mean, it's like the Mac book pro on a scale of 1 to 10 is 10. In this situation. The Mac book Air is one. So if you're choosing between the to go with the pro if you got the money, um, there's this follow up to that and then he wants to know how can I work on both computers? And I think what this has to do with is, what's the workflow between having A He has a desktop and a laptop, and this is where aperture three really shines. So let's I do this. I have a desktop in my office and I have this laptop, and when I'm out in the field, I take this laptop and I have the aperture library. That's right here. And once I'm done with that library, I can simply merge that library into the one that's on my desktop. And aperture really is as good as good at this. Because, for instance, when you export something, you can export a version of master etcetera, but you can actually import an entire library. It'll say. Do you want to switch to this library like when you just double click? Here is the simplest way to do it. Double click on a library that's on your laptop. It'll say you want to merge this or Do you want to switch to this library? Simply say merge. If you want to bring it into your main library and everything's simpatico, it's as if you had created that on one computer. So that is the preferred workflow. If you're trying to keep one big master library on your desktop and you go out into the field with your laptop and you don't want to have to start over, just make that aperture library on your laptop. Double click on that, and after you drug it over onto your computer at home, double click on that will give you the choice of merging or switching. Simply say, merge. It'll import that in as a library is part of the big Library and away you go. Couldn't be simpler. This is really smooth in the old days. Remember, we have toe basically reboot aperture. We were switching from this library to that library, now switching libraries. No problem. Merging libraries is no problem importing projects as libraries. No problem. It's This is really one of the strong suits of aperture three. In my opinion, I love this library management. I love the ability to merge libraries. It's really great did I did that create any questions for anybody? Everybody understand? OK to do, to do, to do Justin ask, Are you working from a raid? What's the best way to set up aperture and hard drives for the best results in speed? Yes, I'm working with a raid now, Justin, I'm using. Everyone knows that used to do used robos, but I never used robos as my primary drives. I always used to use them as my backup drives. Now I'm using Promise Drives it goto apple dot com to the store. You'll see the promise stuff amusing. 16 terabyte Ray drives. Um, you're asking what I use? That's what I use Now this is a fairly spending solution that's about 16 grand. But this is like a banta poo do Cadillac. Top of the line. Massive storage, super fast, super redundant system. Do you need to spend that much? Absolutely not. You can buy a simple ray drive from G drive for I don't know, three or 400 bucks. That will do the trick. In my opinion, this question is really about what's the best practice? The best practice is to get the fastest drive you can afford. You don't want 54 rpm drives. You want 7200 rpm drives You want drives with FireWire 800 connections? Because those are better than FireWire. 400 USB to When it comes to transfer rates and you don't want to drive, that's too big now. The reason for that is the larger the drive, the more likelihood a dry failure. And this is this is just, you know, it's It's like everything else in life. There's no there's no free lunch. You know, you start moving from the 500 gigabyte to the one terabyte to 1.5 terabyte to the two terabyte drives and a two terabyte drives. Your failure rates are significantly higher than it once, so I like to say no, you know, and we got four terabyte drives coming, you know? So you know, I like to say one terabyte. External drives are very reliable there. Never. There's not gonna be an issue unless you just get a really bad batch or something. So that's that's a cheap way to go if you can afford it, though something like the Promise Drive or any of these other raid arrays is really a good way to do because you get some redundancy and you get a lot of speed. So that's that's my solution. You asked what mine was. That is mine, Monica asked. One of my favorite questions and lots. People ask this question. Can I make more than one vault? Absolutely. Don't know. This is really good news. Go down here and click on the little gear icon and there's our friend Add Vault. So we're gonna add a vault and I'm going to say yes. It's okay to make the vault and we're gonna call this Vault one and add it. Okay, Now you'll notice that there's Vault one. We haven't backed up to it, but it's there to prove that you can have more than one vault. We're gonna click on this little gear icon again. We're gonna create our click on add vault again. It's gonna ask this thing question. Now we're gonna create vault to, and this one I'm going to put over on the G Dr Mini that I own. There's vault, too. I could demonstrate this all day long, but that would be too much fun for you, but we could make a lot of votes. I mean, we're talking major vaults were talking voltage. Okay, not not not voltage voltage. We could have voltage everywhere. So, in fact, it's my opinion and my advice that you create at least two vaults, one vault that you can take away from where you store your main data. So let's say you got a studio and you've got a big promise. Dr. Full of data, get another promise drive and take it home because it's not, really unless it's in two places. Because if you have a backup in your studio and your studio burns down, that just means you're original in your backup. Burned down to we wanna have it somewheres else so I would recommend multiple vaults and any number of hard drive manufacturers make make different kinds of solutions for this that you can explore and take something home. Make more than one more. Just make sure that you take the one that you moved somewhere else, and you bring it in once in a while to reconnect it. Update it because if you haven't updated the vote you took home a year ago, guess what All the changes you've made in the last year. If we have the fire, you lost all those changes. We got to do that updating on a regular basis. But the answer is simple. Yes, Monica, you can. And I just proved it. Hope that helps you and all the others who asked that same question. Larson asked how how can show and hide. How can I show and hide the May today to display in the browser split view, split view or viewer mode? Oh, okay. I know what this is about. So let's get over here to browser and and you'll see these. This is set right now for the file names. That's what showing here in this display when you're in the browser and we know we're in the browser because we got this little green check mark. The answer is you at the U key hit the UK, and it comes back. So simply toggle ing the Yuki will hide or show that data in the browser. Now, the geniuses at Apple have also made it possible for you to do this in the split view. And it's you Uh, yeah, you works again. And in the viewer, you works in all three modes. So if you want to show this somebody, it was a couple of people wrote in and say It bothers me to see that we'll just hit you and it goes away And somebody wrote It says it bothers me when I can't see that Welcome to my world hit you and it comes back By the way, I want to thank everybody for the comments on my teaching. Last week, Guy wrote in and said I was the best aperture teacher he had ever seen anywhere in the world. And eight seconds later, another guy wrote in and said I was the worst aperture teacher he'd ever seen anywhere in the world. This means I must have done a pretty good job, came right in the middle. So for those of you who think I suck, it was free. Now, by the way, that's like the figure skating thing throughout the high throughout the low. So whenever you send me praise, I kind of throw it out because I know there's somebody who's gonna send me. You suck. But thanks anyway. Um, I think that Ah, the this This application of this tool is very important because it surprises some people to see this data, and they're just not used to it because of whatever imaging program there used to. So just hit the U key to make it. Come on, go away in any view and you'll be fine. All right. Amanda ask. I noticed that Aperture has smart album presets and my limited to using these presets. And, you know, let's go over here and, uh, say new smart album and, you know, basically the answer's No look at all this stuff here. You can search on any or do not match at a rule, you know, choose your source ratings. You got complete control over this little puppy right here. You can decide exactly what's going to go into that smart album or not based on the most Byzantine things you can think of. You know, you could say, Give me stuff I shot last Wednesday, but only if I shot it with a 20 millimeter lens and Onley. If I gave it a red label and a five, you know, you can pick the most bizarre, obscure selection for your smart albums, and that's it. So you are not at all limited to presets. You have complete control over this, and smart albums are very powerful because once again we're not duplicating the image file. We're not taking up any hard to space. We're just making a logical copy. That's easier to search through. And you could make smart albums that are wicked smart. I mean, they're so smart that, you know their parents have those bumper stickers on the back of their smart album car saying, My kid is an A rated honorable student because you can make smart elms, for instance, that this is something I do when I'm raiding my images. I rarely give anything five stars like once a month, I might given image five stars. And here's the reason why I have a smart album set up that says, If I rate something five stars, it goes into my portfolio smart album. So four is the highest. I usually give anything. If I give it five. That means I'm saying this is a poor portfolio quality image, and it goes into a smart album I've created, and what's really cool about that is as I change my opinion of what my best images are like, then that's a 52 years ago. But today, that's a four. I'm getting better. Then I make that change dynamically. In real time. My smart down goes groups. That image goes away. Yes, sir, it's got the the smart albums only work within a library, right? If it doesn't work across library, that's correct. Everything that we're talking about today works within the library that's currently active. And you could duplicate that library and and then strip out the stuff you don't want. If you wanted to go somewhere else, that would be a way to do that. Okay, Aren't ask our brushes pressure sensitive? The answer Art is Yes, they are. If and there's always in that isn't there. If you're using a pen and tablet interface such as welcome or wait, Come, however it is properly pronounced. And by the way, I don't care. Don't send me email because I don't care. I'm just saying, whichever it is walking more weak. Boca a bouquet. You pick. I'm just not into these religious wars. I got no time. I wish I had that kind of time. Those of you that have that kind of time, here's what I want you to do. Send me an email and tell me how to get that kind of time. That's why. Just kidding. Seriously, you got one of those tablets Pressure sensitive press really hard. Everything comes out really bold. Just kind of lightly touch it. It goes away. Bill asked. What's the advantage? Toe working on raw files. An amateur has an aperture is opposed to J pigs. Well, this is easy, Bill. Uh, raw files have more dynamic range. Um, they have more detail, and they're just more flexible. When you're working on a J. Peg. You're working on a photograph that's had every change that's gonna be made to it baked into it. You put it. You put in this many chocolate morsels and this much salt in this much flour and your cake came out. And that's the way it is, baby. That's what you're gonna eat. That's what you got. But when you're with raw, it's as if you're standing in the field still taking the picture, making some of these adjustments. You're like I made the wrong white balance. Oh, no. If you're working in raw, it's literally as if you had the camera in your hand. You were back at the Yosemite Falls and you had switched the dial to the proper wipeouts. It's that powerful. So that's why you should use wrong. There are some places where I think you actually should use J pay. If you're a sports photographer and you're shooting motor sports, for instance, and you're gonna shoot 10,000 frames today, you do not want to be worrying about trying to convert 10,000 raw images. And if you're a journalist and you've got somebody in the media booth who wants your photograph within five or 10 or 15 or 20 minutes of when you made it, you don't have time for that. You're gonna go with J pegs. But for most of us, I'll speak for all of us because I have a pretty good representation of my audience. With 400,000 people checking in with me, most of us got time to use raw, and it's a best practice. You have more flexibility, more data, more dynamic range, and you're not working with stuff that's baked did again, not into the whole J peg versus raw religious war. Don't care to share, in my opinion, but tomorrow Lackey. If you're listening. I am a J. Peg ASST. Tamra Lackey is a popular Children's photographer who shoots in J. Ping, influenced heavily by Jerry Guiana, a popular wedding photographer who shoots in j pick their two people. I know that I trust to shoot J. Pagan. It's gonna be OK do to do to do. I have no idea who have this question because they didn't write down the name. But what slideshow presets, an aperture are customizable when it comes to transitions. Very simple. There's only two, and it's the 1st 2 that I showed you. Um, we got a theme here, classic and Ken Burns. Those are the two themes where you have control over the transitions. If you pick any of these others, the transitions are what the transitions are, what the transitions are, what the transitions are, and they always will be. But if you go with classic or Ken Burns, you have control over the transitions. That is the answer to that question. Ivan ask, Can you view the progress of export operations? Ivan's exporting a lot of images, wants to know what's going on. Another dead really easy one. Let me get out of this. Just go to a window and in the window you can show progress. Right? Show activity? That's what it called. So if I were exporting, I would say show activity on a little thing would pop up and show me what percentage of the export has taken place. And you know, you can set this thing so that'll dinging when you're export is done. That's just a little bit easier way for me to do it. But if you want to go that way, you can. You don't have time. That's pretty darn well, because we're just about out of time and I'm down a question. Number 25. So I hope these questions have been representative of what you all want to know. I did my best to pick the broad spectrum of questions from the largest group of people who ask them after in road and said, What cable do I need to connect between my camera and my computer to shoot tethered in aperture? Does anybody here? She's tethered. We have one tether to tether shooters. Well, the answer is simple. It's either USB or FireWire, but the best practice is FireWire. And why is that FireWire moves more data to the best practices. Farmer. Now, I was not asked this question, but I'm gonna give a bonus answer to it. If you're wondering how to do this tethered shooting in aperture just go to file tether. Start shooting. It's really tough. Really, really tough. And I'm not a big tethered shooter because I spent a lot of time outdoors trying to hunt down little birds and, you know, trying to think about connecting a cable to my computer and dragging all that around on top. Everything else I have to drag around isn't gonna happen for me. But I have seen it done. I've done it in teaching situations. It does work. It worked powerfully. Well, so well, we answer 25 questions now. I have just enough time. He thought I forgot. I have a couple of more cool things. All right? I'm going to show you something here with the white balance preview that I think me personally, it's pretty cool. I got to get up here to the right project, and, uh, let's get this little Western screech owl. This little guy's about four inches tall. I walked by him. I heard him for an hour before I actually saw him, and it really is difficult to find an out. Now, this is This is this is an AL bits this tall OK, this guy is this tall that big looks like a coke can and you gotta find, but I'm gonna show you a white balance tip that I think you're gonna find pretty pretty slick. So this little white balance brick over here, there's the white balance tool, and you all probably know that you're supposed to go over here and you're supposed to, you know, pick something that is a neutral gray, right? So you click here and that's the spot. What normally happens is you click and you let go and you got your spot. But guess what? If you don't let go, I eat my finger right now is pressing on the mouse button as we speak. Look what happens. I'm changing that white balance in all kinds of weird and unusual things because unless you let go, this just becomes like a random tool that you can check and you so you can look get some real time feedback. Was this great? Neutral? Is that great? neutral. I can see the overall effect in real time to the white balance simply by holding down on the mouse button and not letting go like you might be tempted to do. I get props for this. Uh, I'm getting thumbs up from the live studio audience, folks. I hear I hear clapping in Espana, so I know they're clapping in Spain over this. You didn't come on it. To tell the truth, you didn't know this. You did not know this, and you're paid nothing to learn. So I mean, except for those of you that did pay. Thank you. Um, let's move on to another one. Um, we know that C is the crop shortcut key. Correct. So we hit the sea key, and we can crop. But what if we want to straighten? That's the geeky. Guess what? In real time, you can switch between crop and straighten simply by hitting the sea and the G so you can do a little straightening, and then you could do a little crap me. And then you could do a little straightening CNG crop and straighten. So, like, peanut butter and jelly. Kentucky Fried chicken and Scott, you know it's important. I like it. All right, let's go over here. Now, I got one more kind of saving the best for last, and we've sort of We've alluded to this one before. Let's go over here to another one of my little buddy, the peregrine falcon showing you that when they eat a bird, they really eat a bird. They eat all of bird. Nothing goes to waste. They even get the claw. So, um, we want to talk about clipping overlays. We're gonna go to full screen mode here and hit H for the HUD. We demonstrated this before. We're gonna do this again. And you know when I I'm going to just go ahead and cheat my exposure up where I think I've probably blown some stuff out by. This is bird blood here on the breast of the peregrine falcon. That is not special effects. Hollywood blood. That's the real deal. Um, and let's see, I'm gonna hold the command key, and we showed you this trick, right? Where? Now we're showing you where the clipping and the blocked up points are. Um, now, what happens though? And you should know this. You should. You should be able to guess what I'm about to do because of the cool trick I already showed you before. Hold the shift key and hold the command key. Ah ah, yeah, That's what I'm talking about. Nobody knew this before. See how the HUD disappeared and it didn't get in our way and we can see the clipping and the HUD's gone and we let go The shift key. Everything's back in order. Go! That's standing over time, people. You know what it's been An honor and a privilege to get to be with you for six hours. I hope you've enjoyed this. And, ah, I'm going to continue this a little bit. A two photo focus dot com over the next couple of months will be throwing a couple of aperture tutorials up there. So anything I didn't get to particularly we have tips and tricks that I've got will be going up there, and I appreciate your attendance and your interest, and I want to go once again, say thank you to, uh, Chase and Craig for letting me be part of creative life. Thank you.