Warnings and Limitations of Face-Aware Liquify
so I would be remiss if I didn't talk to you guys a little bit about some of the problems that may arise if you guys were using this face aware liquefied technology. The 1st 1 is that you need to have one of these specific settings set in your photo shop in your photo shop menu, and it's in the preferences. So you come up to photo shop CC, choose preferences and choose performance, and then you're gonna want to make sure that use graphics processor is checked. So that's preferences performance graphics processor settings. Make sure that this used graphics processor. It actually has a check mark next to it. Okay, all right, so that's the first little thing. If not, you're going to get this error message. The face tool requires hardware acceleration. Check the perform performance preferences and verify that use graphics processor is enabled. I think that Adobe is getting a little bit better with the with the language that they use in these air messages, because before it seemed like they...
were written by like a coder and you were like, I have no idea what that error message means, but this one I think most people could. I kind of understand it and be like, Well, okay, it tells me where to go, so I might as well go there. The other thing that is important, too. Where's 33? The other thing that's important to think about is that if a face is vertical like this, it is going to pick up the face. Okay, if it's tilted to 10% it will pick up the face. If it's tilted past 30% it won't pick up the face. All right, so that's an issue. And most people would say, Oh, well, photo shopped didn't pick up that face. Well, silly software gas, you know, But I'm gonna give you a work around for that as well. So let me just show you Commander controlled J to duplicate the background layer because I never do anything on the actual background layer. So we're going to filter and we'll go into liquefy. And then if I come over here and I try to fit, pick on my little our pick, my little face tool, it gives me an error message. No faces detected in this image. All right, so this is an error message that you it if it's not the end of the world, if you see it right. Okay, so that's all right. Voter shot. We gotta work around and I'm gonna teach you that right now, so we'll cancel out of it. We'll come back to our image on what we're going to dio is we're going to first increase our canvas size so we'll come to image and then we'll choose campus size and will change. I want to just do it by percent. I don't want to do it by inches, cause that's too much thinking for me. So let's go 2% and let's just do 150% um, increased with and 150% increased height. We'll go ahead and press OK. And then our next step is going to be taking the layer that we want to liquefy hitting Commander Control T. And then we're just going to bring up and rotate the layer so that the faces vertical Okay, go ahead and press OK. And then that way, the face should be readable by the face aware liquefy. So let's select our layer one go back to flick will go back to filter choose liquefy again. Oh, look, what's showing up. Okay, so that means that it does register face here. We've got our face, Um and we can now modify anything that we want of this face. So, ah, lot of times when you are photographing somebody from a lower angle, you can you run the risk of having a little bit of distortion. So the distortion, because the lower area of her face is closer to the camera than the eye area Because you guys can see how I was kind of shooting up that way. I want to just come in here and just do a little bit of tweaking just to fix the the camera distortion. Okay, that would be something that is okay for you guys to do as photographers. You never want to take too much creative license, especially if this is not a creative piece for your portfolio. And it's for a client, because what happens if the client sees all of these changes that you've made to their face and they didn't ask for any of it? Okay, the reason I'm teaching you these tools and this is a very touchy subject. Um, the reason why I'm teaching in these tools is so that when your client comes in and says, I'm concerned about this, that you can say, I want you to rest assured and relax, because I can fix that in Photoshopped if you'd like me to. But you never want that to come from you. You never want to be there telling the client what's wrong with their face. Because imagine being in those shoes, right. Imagine sitting right here and and having somebody talked to you and say this size larger than this, I so I'm gonna have to fix that. Are you kidding me? I'm not going back to that photographer. Right. Okay. So just so that we have that, you know, I am teaching you some things that if you wanted to, you could go way off the deep end with this kind of stuff. Um, so just so you know, when you're dealing with a client, you know, you really want to be professional. So in addition to having a picture where she's at a more than 3% angle, what happens when you have to compose a picture where maybe half of the face is hidden with hair or some other kind of blockage where there isn't two eyes. What would you do in that situation? So I haven't, um technically tried. I haven't tried an image where an entire iess hidden. That's a good one. I'm gonna I'm gonna try that at home. But what I do know is that it does not work in profile. Okay, so that is that is one of the limitations. And that's perfect. That you that you just basically said that Because that's one of my notes. Is that there? It doesn't work in profile. Unfortunately, um, but in the neck in in, ah, future segment in a future section, I do have an image where there's a hair going through, and I and it's still picked it up. So I don't I'm hopeful, and and I've been nothing but surprised by what this software has been able to dio thus far, so I don't know. I know. Anyway, So we've we've played around with the with, you know, just fixing a little bit of that distortion on that chin so we can go ahead and press OK, maybe I'll just bring the nose just down just a little bit as well. And then we'll go ahead and press OK, but you can see how light the tweaks are. They're very They're very light the opposite of heavy handed right there. Very, um light. And so I'll teach you guys a work around for that as well, if you feel like it's just not going far enough. So now we want to take this image hit Commander Control T and then we're just gonna rotate this back to what? It originally Waas. Why does it keep going like that? Okay, go ahead and press OK. And you can see the before in the after that we were able to dio which never would have been possible had you had we just stopped at it, didn't register the face, right? So just learning that just having that in the back of your head that Oh, well, maybe it's because of the tilt that the software is not working is going to allow you to use this on many mawr images that you would then you usually would, right? So it's just finished this up nicely by getting rid of all of this blank space that we don't actually need 10. Go ahead and press, OK, I know I have a white box around it, but that's OK. So you guys can see the before in the after. Okay, So pretty cool. Because once you start using this stuff, it's gonna be like being bang, you know, boom or whatever, like it's it's gonna be so fast that you guys are gonna be able to do it and it's not gonna take, you know, the slight moving in and the morphing in and each, you know, each brushstroke making sure that it's still like that. It's still, um, doesn't look like it's been looked liquefied, because sometimes if you liquefy, you'll end up with, like, a squiggly line, and you can you literally don't have to worry about any of that stuff because of this new technology.