Mobile Workflow: Retouching and Syncing
Everybody's got a different way of organizing their particular how they're set up with their IPhone. Turn that off. But I've got my general ones for my life living purposes around here. But at the bottom, I've got, um, sums that I use all the time. And I'm gonna use this just so we can keep in that mode so you can see what I'm looking at. I'm just going to use this scenario of moving the pics. Photo Sync is a great app for sharing files from IPhone. IPad, from computer to IPhone from any device to any device uses a WiFi signal, and it's excellent. And it's quick. And like I said, it has also a desktop app. I believe both Mac and PC that you just drag files onto the icon on your Mac, and it will automatically show up in your IPhone. If you're trying to transfer from your IPhone IPad do it. It works great. It's fast. You can use it for automatic backup. It's wonderful. We'll talk about that. Maurin a little bit Snap seed is my go to app for optimizing images again. That's using all of Ni...
k software's technology, so the quality is excellent and very, very fast. Photoshopped Express, The updated version of It is excellent. It's basically is light room and a CR in a little free app. The great thing about it has some things in it that aren't even in light room or a CR. Yet, as in as an example, D fog. The Fog is a brand new technology from Adobe for working with contrast image. It's already inside Photo Shop Express, and it's not in Light Room or a CR. Yet, even though Adobe announced it at the Max Conference last week, it's already in photo Shop Express. Light Room Mobile is awesome. Fantastic, great will be showing that both on the computer and how it sinks to this app. This is taking advantage of that smart preview technology that Adobe has come up with. If there was one solution to this whole issue of doing quality, photographic work and photographic editing on a mobile device, Adobe has figured it out, and it's smart. Previews allows you to work with what are technically full resolution, raw, high resolution files in this proxy, basically what's called a proxy on your mobile devices. You can zoom up on him. You can tweet him. You can edit him. You can do it if you want, and then they will sink back to the full resolution files. If you work on something on light room on your mobile device, which you can have it as an example, automatically download everything from your camera, roll and go into light room. That's it. Full resolution. You can tweak it to your heart's content, and it's going to go to your laptop or your based computer. Everything that you do here in light room on your mobile device is nondestructive, just as it is in light room. Awesome, great, seamless integration. You'll I'll show you in light room on the desktop. How you set up a collection. It's how it works to sink to your mobile device. So awesome Pro Camera is a is a new This updated version of Pro Camera is one of my new favorites. Um, with for shooting because of how it does in camera. HDR will show that to you in just a second, but it has tons of manual controls. Ah, lot of the apse now, like I said, with Iowa's eight, have access to the full capabilities of the on board camera. And it's it's a great little app, especially for its HDR capabilities. I leave the APP store on there for what I'm doing, and then I've got, um, Down here a folder just dedicated to Adobe because they've done so much with APS recently. So you have these APS I'll go through a number of them, some of them only for the IPad. As an example, Adobe has a sketch application. That's only on the IPad, not on the IPhone yet, but some of these are excellent. The B Hands portfolio is an awesome way had a post to the free online community that comes as part of the creative cloud subscription Photoshopped Touch Job is not doing a whole lot with Photoshopped touched these days, Um, it may eventually go away. It's their thought of doing an all in one layers based application, and basically the scenario with application that works like photo shopped on a mobile device is the challenges. It works like photo shopped on a mobile device, meaning that if you want to add a frame to something, you select it, you inverted, you fill it, you know you do all these things that you were doing photo shop. And we're so used to APS having canned effects filters on things like frames. You know, you typically don't wanna work like you work in photo shop on a mobile device, especially since this isn't working at full resolution. So even if you were to do something with layers and type, which it does do is probably the best app for working with typography and design. Um, because it's not full resolution. You would have to basically recreate the file at full res when you got back to the desktop, as opposed to a light room which has this smart proxy concept. You have your creative cloud for your files and storage on here. You've got, um, Adobe Clip is actually Adobe Premiere clip, and this is actually I'll jump into this, though we're not even talking about video right now, but it is a premier light free that does video editing, multiple shots, transitions. What I like about it is that it has your effects, these different looks that are really high quality looks for the video and that you can do. Here's a film noir effect that I've put on this little clip video, you can fade and cross dissolve between it. It's still very ah simplified app in terms of what you can do with the file. But it gives you a lot of control over the overall look of the file as well as its transitions are very nice and everything else. So I like a premier clip, especially that you can. The rendering of it is very, very good quality. I might as well Well, I'm here. Um, adobe shape is a vector processing, um, file, which is really cool. Let me go ahead and I'm show this one and this one. We can continue to do this, but you might with the over the shoulder what it does simply by turning it on, it automatically is tracing your environment and you move the sensitivity and it's doing a auto trace. So I'm coming up here at this little chest piece here, and I can set up the sensitivity that I want and I'll say, OK, I like that. I grab it. It immediately turns it into vector outlined. It immediately takes me into editing mode. This down here is drawing or painting, and when I paint on something. It is erasing those vectors from what will be the saved file. So I am brushing with my finger if we're going back and forth between the video feed and the app and you can zoom up here and kind of fine tune it. But this is pretty cool, and that looks pretty good. I say. Okay, it's now smoothing and creating a spine based. I'm gonna call it chess, too, and we'll go ahead and take a look at that. But if you look at it, it is beautiful. Vector, High resolution resolution, independent, busy acre blaze based spined graphics that you can continue to fine tune and tweak, and you can also bring in line work. I mean these air sketches that I did using Adobe Sketch, but they have been cleaned up by tracing what was a little drawing using this app so you can bring in any photograph, any old posters and on the World War two poster my another good shot of my terminally good looking son. And so, whether it's a photograph or whether it's an illustration, um, you know, little photograph of a woody, you'll be seeing the Woody's coming up. But that is really cool, especially those in the graphic design persuasion. That's fun. To be able to shoot anything while you're out in the field and ah, and turn them into vectors is pretty darn cool, and that is adobe shape. Adobe Brush lets you do a similar thing, but it's doing it with, um, photographs, typically photographs. You don't need to do photographs, but it you could take a photograph of riel, sketch drawings or other little elements in here, even things like brush strokes. And then basically, you can turn them into brushes. So this is a preview of a brush that I made. This is how it when you're pain, it's a cross hatching brush. And, um, if I can refine that, this is the actual brush. This is the actual brushstroke that I did. So I painted this with my finger, and then I went in there and went into the settings, and you can see the preview here. I can change the size of the brush stroke. I can change the minimum size of enough. I'm giving it the ability with pressure to change that size. I can come up here. Here's my my pressure setting and I can have both sides and flow. The spacing is going to show how much they overlap. So you can see is they spread it out those air, the individual brushstrokes and you'll notice that I've also got this scattering. Okay, too irregular to kind of, you know, randomize the position of these individuals dressed brushstrokes. There's that one set of brushstrokes, but this is the settings that you have in photo shop. So these air, actually, you know, very elaborate adjustments. You can come up here and we'll do both axes. So when you come up here with a scatter, you can see that it's changing it. Jitter is another random thing. This is the size so we can come up here and changed the amount of random ization of both size and angle. Here is no change whatsoever. Here it is dramatic change. And again, this is based upon the flow of the file or what would be kind of considered a pass ity again. So saving that that becomes, um, a new brush, and you can also do things with it that are really cool. We use one of these, um, brushes here This is a vector brushstroke, and it's actually based upon a photograph of a single brushstroke, and you're able to give it the A starting and ending point. And that's what gives it the look like it starts in one method and it goes to another. It's actually the middle part is one brush stroke and the big in the head and the tail or another brush stroke. And it gives you this actually very fluid feeling, and we'll show it in in sketch on my IPad in a second that related to IPhone. Ah, graffiti. But it's cool, so we'll get to carry away. Um, adobe mix is great. It is your layering and compositing capabilities built into an app. So you have these different layers and you can move them around and select them. We've already cut out. This is one of their demo files in there, but it has some wonderful capabilities for selecting portion of an image. This one. Let's see if we subtract if it still has. So here is the original photograph in here that is cutting it out. We want to add to that. Let's go ahead so we can take it back out. So here is it with that background and basically what you do is remove. It's got an auto capability built into it that automatically found that I want to add back in that beak so I can come up here, can zoom in, and it automatically added back in that beak scenario, it's got intelligent. We can add a feathering to that selection, and, um, it actually is very good selection tool. So again, it's used for compositing of the image. You can come up here and do a look for the different, um, files. You come up here and selectively apply it to a particular image. So this is doing well, do a basic selection. So if I wanted to add that look, I'm basically painting in a look into a portion of the file. So you have these feathered selections for not only isolating something from its background but isolating effect inside a particular layer. The other thing that it has built into it. Let's go over this file here, and, uh, we will adjust. You have your exposure contrast, clarity, saturation for fine tuning and element. This is now in the background, so if we come over here and adjust it. Okay? This is now adding clarity to that background. I can remove clarity that's removing it. This is adding it. Um, so again, you've got those adjustments at your disposal, and you also have that's actually removed, that you also have, uh, one other really cool feature and that iss the ability looks cut out crap, your arm or adjustments. And I'm just losing it right here. Sensation, clarity, Auto fixed. Now I'm looking for the upright. The content aware fill is basically built into this apus well, and so I'm gonna look at that because normally I remembered it being on the bottom that allows you to do some more work to it. But it's excellent. Does excellent soft edge selection on it. And with your ability to fine tune both the foreground and background, it has a lot of capabilities that is photo shop mix. Um, let's go to light room because light room, actually, let's start over here back on our desktop and, uh, come over here and back over. We've actually got a light room. We'll start over on our light room here, and basically what you want to do to take advantage of the light room. Mobile app. Yes, you have whatever your you know, uh, catalog is and you're going to go into your collections looking down here in our lower left hand corner. You see that? We've got collections, and I've got collections that have, in this case from light room mobile. So these are sets of images that have come back from my IPhone pictures that I've taken references they have automatically sync back from my IPhone into my light room catalogue. So that again is really cool. I can send pictures over I've got a set. A collection that I've called to tweak. So again, this is coming back from my IPhone coming over here. Four. I've named another one for light room mobile and basically this little icon over here on the far left hand side, these air, the collections that are being sink back out to my mobile device just doesn't have to be called that. I just named that so. These are all. Ah, So these are all things that I've told I'm like room to sink back. So if I get if I wanted to, you'll notice that there's a little square here. If I come over here and click on any of these, it's good now Going to say, um, start sinking to some, giving it permission. Stop sinking will stop for a second and then we'll click on it again, sinking with light room mobile. And this supposes that you've come up here and you actually logged in to your creative cloud account. Um, it's one of the many benefits of just this Very simple. Now what Adobe has done tohave full version of photo shop, full version of light room, all the mobile APS, the creative cloud that allows you to sink all these elements from one to another the be hand subscription. It also comes with your type kit, all the adobe fonts available for desktop and mobile applications. Really, they've done an amazing job. The other thing that's actually gonna be really big. That's only just starting right now is Adobe has opened up the engine that it uses for both its video applications, and it's photographic applications as well as its vector applications. It's what they call in the creative STK and third party companies can now take advantage of that smart preview technology and build that into their APS. So the creative cloud is gonna be a way that you could seek not only within adobe abs, but third party after as well. So the potential of the creative cloud file format sinking, storage, being becoming a universal, huge big deal in the entire universe of mobile imagery is there absolutely could be a huge solution to this idea of how can I unify not only photographs, but this'll resolution independent files, whether they're pixel based or vector based. And what about video? And how do we process something that's so intensive, as you know, a movie and what Adobe is doing with some of these absent again, I'm gonna find that, uh, the content aware fill the upright, those capabilities that are built in some of their APS, what they do if you want to use content aware fill or their camera upright options is you click on that in the APP it sends the image up to the cloud they distributed among their 10 million processors. They process it in this case on the mobile device because it really smart their process. It three or four different ways send you back all three or four results. You choose which one you want rather than having to go back and forth with what your options are. And they're taking advantage of what's known as cloud processing rather doing it on your device. And when it comes to things like video, eventually it's gonna be a huge, huge benefit. So basically, you come into any your collections over here on your left hand side, either in the library development or where you're at, and you come up here and simply click on the left hand side and tell it that you'd like to sink it into the mobile device. What will then happen when you get over here? Now we'll switch back over to our file here, and I've got my, um Why, If I still turned on so I can't sync ago into light room and you can see I've got seven collections just as you saw over there that are turned on and they're all here waiting for me, including that'll to tweak one that I just turned on. And, um, I now have full access to it. And if you come over here and click, you'll notice there's little three dots in the lower right hand corner of the particular collection. You click on it and you can thes air kind of global ones here for adding from the camera roll I can add to this collection. I can automatically import into this from the camera roll. Um, I can enable offline editing as a default when something comes in rather than you. If I do all these collections that gives me access to literally thousands and thousands of images, potentially, it actually will do that over the, um um, over the Internet over WiFi connection. So you have access literally to your entire collection. Well, that may not be the case. You may not have the, um, band with to do it. You may be working off the sale rather than WiFi. You may be on an airplane you want to do editing. What you simply do is can enable offline editing. And you can come up here. Those of 50 says if I do that, that's gonna be 85 megs. I've got gigs available, so download. So that is now making all those shots in that collection. Actually, in this smart preview mode, which I will elaborate on a little bit on my device, so it's gonna take 80 megs. Not very much for the number of images in that. Was that the this one that I just turned on? Uh, this one that I just turned? Um, that's not much where it did say 80 megs can't be for the 2000. Must have been, Yeah, As an example, this is 31 photographs, raw files. And if I enable offline editing, it's 53 megabytes for all those, um, different files there. So it's starting now. You can see that little cloud. It's got the dots going on there. So each one of these smart images, even though they're raw, are coming in at about a megabyte. And it still maintains all the edits that I did in light room, and I continued and can continue to edit all those files. So for me, that's just fantastic. Here's that again. Shot over in Hawaii. This, actually is that it's not a panel. That a panel. This is a panel. So these two shots right here so I can come over here and take one of these shots display the meta grant and history Graham. So that's saying with a two finger tap there is the size of this is a J peg on the file so I can come over here and do a star rating or colored label. So going up or down and this is gonna allow me to change my star rating, okay? And so that again if I'm on the proverbial airplane here and I want to go through and go through the files and star rate, um, of what's my likelihood of using them? Um, I can do that. And when I get back to my desktop, whatever star ratings I do here, we'll have brought over do one that's got a little bit more color to it. If I go into my adjustments here again. Three finger tap and hold to compare edits. So there's gonna be my before and after option, I come down here, this one. Let's see if this one is edited yet. That's when I've got my preview. Let's see if it's gonna This one hasn't come down yet, completely so you can see that my controls down here aren't ready. So let me go in here as it does that it has the preview, but it's not giving me the ability to edit it. I should use one of the sets that I have already downloaded. That's find one that's already has that turned on. Looks like I was trying to save some space and I turned off. That's the great thing with the, um this offline editing is there's nothing stopping you from turning on and off that offline editing. So in other words, if I use it on the airplane and now they're all on here no longer need that I can simply turn off that online editing, offline editing. And that would allow me to, um, not have that clogging up my IPhone, so to speak. Okay. Crazy son picture. Okay, it looks like I accidentally turn that off. Probably when I went down into the Grand Canyon, Um, to save up space, I went in there and turned off the offline editing, which is awful for doing a demo here. You can see up here the top This is in a raw file in adobe DMG. You can see all the camera specs on it. My, I s o and how it was shot. And again, I'm gonna have to wait for that one. It also may be a situation with the firewalls inside of what we have here. A creative life. But that being said Okay, now we got that exposure. Okay, thank you very much. So in terms of this, I confined tune things like exposure I can come up here to all my shadows. Highlights whites black clarity. As you guys know from me, I like adding my clarity to it. I'll add my vibrance to the scenario. I'll go back now to my white balance. True white balance. This is both a temperature and tent. I can come up here and choose a preset. So there's my art shot. There's an auto to neutralize that I can continue to find. Tune it for both temperature and tent so I can come over here and fine tune my settings here Which again I just love my daughter tomar exposure. Let's do ah shadow. Since we're pulling out some shadow detail by pullout shadow detail, I can take my blacks back down and kind of pegged down a black point to keep the contrast even though I pulled out a ton of shadow detail, the three finger tap is one giving me my hissed a gram and then press and hold. It's going to give me my before and after it says, which has given me a zoom. That's problem with an IPhone. This we're doing this on the IPad is probably helpful with kind of a smaller interface or the plus and say I can rotate it and exposure highlight shadows, whites back clarity, saturation as well as vibrance is really nice. And, uh, that works. You also have a previous, which is the similar. If I went over here and ah said, Go back to my camera roll, I've got that that see if that's downloaded my initial collection here. If I did one Siri's like this image here. Let's see if this is downloaded. Not quite yet, but that previous down here, I could tweak an image, go back to my next image and use previous, and that would be like a sinking between multiple images. So that's the one way that you can synchronize between multiple shots, is using this little previous button. You don't have access to the history state that you have in light room you can't use. Here's our No, you can't use snapshots and those sorts of things. But for 1.0, application. It's actually amazing what they've put in here, taking advantage of this smart technology that is allowing true raw files to be edited offline and online. Okay, so that is light room mobile. Like I said, when you're at this level, you can have any one of these different collections be used with. Here's it's you can see the sinking that's taking place. Um, you can come up and, um, have the, uh, the images I'm sorted based upon our different summaries here and by clicking on our little dots down here on the right, we can enable auto import from the camera roll. That's any future shot that you take will automatically come into this collection. So that's what it is being done, and you can do slide show and all that kind of stuff. So I think they've done an amazing job, is a 1.0 AP and again, I'm sorry that I turned off the auto, um, the offline editing on here and we've got a slow connection. But anyway, that is our light room Mobile won't be shooting with that app, but it is a neck solent app before doing your editing. And incense is also your backup. Using the creative cloud storage. To have your image is automatically go from your camera roll to your desktop. They'll be waiting there when you get there.