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Lesson Info

Lightroom® Video Enhancing Secrets

Let's go and open up a video clip in the develop module in light room. And the first thing you're going to notice is this little obnoxious sign that says video is not supported in develop module. If you're on Windows, it adds right below it. Ha ha ha. Totally uncalled for. I don't know why they edit that. I mean, okay, okay, so it doesn't work. What? What are they trying to tell us? Well, if you go over to the library module, there's been something built into, um, the library module, which is called quick develop. And if you do have quick developed, um, open, you can access your video clips. These air actually adobe video clips. They're nice and colorful, and they need correcting. So I'm using their video clips rather than mine. Should have actually Ismael's whale clips we talked about from Tonga or Hawaii. But we've got nice, pretty models, so they quickly develop. Module does let you work with video, which is great. The problem is it doesn't have a lot of the capabilities that you're...

finding the develop module. And that's actually one of the nicest things about doing video in light room is this ability to do something that you did toe a still image to an associate it video clip. In other words, let's use the proverbial wedding scenario as an example, you've shot all this wonderful still footage that you are enhancing and making bright. You had to shoot on an overcast day. Everything's kind of muddy, you know now how to make things just shine and sing in light room baseball what we've been doing all day today. But then you have video, and all of a sudden you're combining. This is part of something that you're delivering as part of your package. You're doing a slideshow that's video and music, and you've got these wonderful still sides still shots. And then all of a sudden, you get to the video clip, and it's like, Oh, it was a muddy, ugly, rotten day. So how do you get your video to match the beauty of your still images? Especially if you could not only kind of make them look like it, but actually share the same settings Now that just gave me, as we say in Hawaii. Chicken skin. Oh, right. That Kaine goose bumps. OK, goose bumps that is how cool being able to use the power of light room on video and before color and tone and even special effects. So that's let's figure out how to do it. So first off, if you want. If you want a quick little, um, feature, you can use the quick develop. But we already know that we love cool and groovy stuff in light rooms develop module, so we want to go there. But video is not supported in the develop module, so that is our conundrum. What do you do? Well, first off, we're going to come here in side of our library module. As I mentioned before, you can play the video clips gay and these air high def, 10. 80 p regular video clips. And you can see this is the rough cut. So it has the models waiting for the cue, and that's in there. So the first thing that you probably want to do if you actually want to use this video is you're gonna be doing some trimming, right? You're gonna cut it down, but something that you've done all the time and there is a transition to to pure white. So what you're gonna do is you come up here to this little icon over here on the left hand side. Let's go ahead and zoom in on it and we'll do our little. Okay, turn on our circle. So and move away from that. Yes. So this little icon right here, the little gear icon pops up and gives you your trim options. And basically, you have the little grab handles on either side. Let's go ahead and zoom out because it's obviously not happy. And you can come up here and trim your video. Okay, So that is new. You can just move your play head until you see like you want. We want to fade right there. Great. Lovely. Drag it over. We come over here, we can hit play from the beginning. Oh, okay. Que the models got it. OK, come over. Drag it. Stop. You've just set your clip points. The nice thing is, because video is handled procedurally, just as in photo shop, that's not actually trimming the video clip. You can untrimmed it later on. It's just procedural. Even what we do to the tweaks. Just like for still image or non destructive. Um, you will. When you're ready to go into photo shop or any other video editor, you're going to be exporting the video clip. You do have to process your effects, which includes the trimming and any color or tone. So that's just simply built into the export module. Like anything else, you're gonna find all your options for video export. Okay, so we've got our image trimmed. That's great, right next to our little gear icon. I mean, back in is another little icon, and when you click on this, it has two options. One set poster frame. That means what frame is gonna be representational when you're looking in your library module to say, this is the clip because if you started off in the sky doesn't help you find that clip. If really, what? The subject matter was the close up of the models, so you can scroll to whatever you want. And then you set the poster frames, so that's what that is. But this right here is really the secret Mickey Mouse Club handshake. As we've been saying all day because what this is going to allow you to do this little option that's actually fine speaking of a poster frame. Let's go ahead and find something that's a little bit more representational with what we want. We want to be able to see our models, so we'll say that is representational. So we'll come up here and we'll set. That is the poster frame. So now that is going to be the representational shot. Whenever we look at this clip and the film strip down below or in the library module. But this right here of capture frame click What did it just dio What it just did is it did what's known as a frame grab. It just took that video clip and made a J peg. If we look down at our film strip, you're gonna say, Well, there's our video clips right there. I don't see anything associated with anything and the challenges you're gonna have to go, usually to the other end of your film strip, which is not there. Actually, you're not going to even go to the filmstrip because when it did that, it didn't added back to the catalogue. It's in the folder, but depending upon what you have over here, like in this case, previous import and that's what? I was looking at all photographs. 77. Hello. Anyway, so a little gotcha. There's a few little gotchas here, and that's why we're spending time with it. I go toe all photographs, and now I'm gonna come over here, and there is my little video clip. So depending upon what your catalog is set to all photograph, if it was already said in all photographs that it would be there, you may have it on last import, or you may have made a special collection. So if it is in there, then you wouldn't necessarily see it. There is my J pic file. And what can we do with Jay Peak files that we can't do with video clips? We can go into the develop module. No, but I don't want a low rez J pic. Hold on. Deep breath. It's gonna be OK. We're gonna come over here, and now we're going to do our tweak. So first off, we could do that tango that we found in the basic module. The thing is that not all features in the basic modules are are supported in video. When we want to go back to video even though we could do everything to this JPEG. There are certain parameters that aren't going to be supported when we get to video and we'll see those in a second. So we do have things like our exposure. Okay, we can come up here. We confined tune things like, um, our overall color to the file. In terms of our things like our vibrance, we don't have clarity. OK, we do not have clarity at our disposal, which is a bit of a shame, because that's so cool. We don't have shadow as an option, which is so cool. What we do have that is, is something that you've noticed I have not used today because of the power of the shadow slider. I haven't needed to use tone curve. But tone curve is actually built into what could be done to video, and it's actually very similar. As you probably know, you have a shadow slider here, so I want to pull in some shadow detail. I can come over here and simply move a shadow slider not within the basic panel, but over here in the, um, curves panel, you have both point and what are known as Parametric curves The parametric curves allow you to have these sliders, so I'm kind of fine tune my sliders here. Don't need that much darks. Just pulling in a little bit of detail there. Okay, so you have curves. You have a lot of the basic panel. You have your saturation and vibrance when it comes to, and this gives us our before after. So you've got a lot of stuff that you can do in terms of fixing the image. What about some special effects? What about some cool, groovy stuff? Especially if you're doing it for something where you've done some special effects for your still images that the video is gonna be associated with, Like the HSE L power. Okay. The HSE l panel, as we know down here, has some really cool capabilities at its disposal. You may also remember way back in earlier today, we made some presets associated with this, So let's go ahead. I'm gonna actually zoom up and make another one that we did earlier today, and that's gonna be a custom. Black and white conversion is black and white video is very cool. This custom, black and white is gonna be even cooler. So I'm gonna come over here and I'm going to de saturate all the different colors. Okay? In the file, basically giving me a black and white file. The cool thing about this black and white. And by the way, this is where we would make a preset. So we never have to do those dragging of sliders again. But here's a black and white. The nice thing about keeping this in mind and the fact that it's available for video is extremely cool, because not only do we have saturation, but we have luminous and Hugh. So, for example, I can use that thing that we used earlier today. Use that T A T tool and I can come over here under saturation and click on the models dresses and just come over here and bring back in selective re coloring of the file. I can jump over to luminant, click on the grass and lighten up the grass in the file. Okay, there's probably different colors. You'll notice that the grass is made up of oranges, yellows and greens that knew all that. We could take the reds. If we wanted the luminosity. We could either dark and down, our lighten up, going to make them more pastel e and, ah, now we have. Here's our before, after in terms of our special effect, so a completely different feel to the file. The problem is it's being applied toe a bloody J pick, which isn't helping us, because as soon as we jump back into the library module, it's not gonna help us. But the cool thing is, when you come down here and shift, click or command click on your video clips down here in our little film strip at the bottom. Okay, guess what is at our disposal sink. So it's this little work around Develop won't work on video works on J pegs sinking works between J pics and videos. That's your work around to use the power of the develop module on your video clips. And, of course, you can save this as a preset and apply it to the print images just exactly as you can when we come over here and we hit sync because it's going to video. This shows you all the capabilities that can be shared to a video clip and those that can't as I mentioned before. Clarity. Not so much Highlight shadow. Oh, tone curve. Yes. Thumbs up Sukhoi also Bhichit and the processing version and everything else. So it is using the current processing version Your color split. Tony, If you want to do a c Peotone effect, you do a beautiful black and white and CP Tony. Awesome. So these are what can be done. You simply say synchronize and hold your breath. And there is your video clips. Of course, if we jump over to the library module and click on one of our video clips, this one right here, space bar for full screen play and here we have effect being rendered in real time. So that is actually indispensable. And even if you're not going to go into professional videography anytime you shoot with any kind of video camera, you're always gonna want to tweak it. By definition, you're an image geek, right? So that's one of the frustrating things about video. It's like untouched video, right? You have to touch, you have to touch your video, and now you can. So and that would after that, then on file, you would just come over here to your export and then you will have your different options because this is a video clip here. Your options here, your industry standard age to 64 you know, And your maximum quality. If you know you're gonna re edit it, then you're certainly probably gonna do. It's to 64. And Max, this is also has a J peg in there. So it's giving me that. If you wanted to go out to, um, something like YouTube, you can go to, um, the original file format. Actually, let's go here. We want to go into okay, and we want to go out. And we've got some slightly different things going on here. Actually, we've got that's just click on. We've got both J. Peg and video going on at the same time. You could stop single file. Okay, so you're gonna make sure that you've got your frame rate. It's gonna be doing it in this case the same as the source file. And you basically then can open it up. Whether that's gonna be premiere pro or photo shop again for shops, he has six. You don't need the extended version of Photoshopped in order to do video in the past to do video. You've needed a Let's say CS five extended. Now you can do it in the any version of photo shop CS six, and they have greatly extended its capabilities. Okay, well, Jack, this is another moment of we have a lot of wow's going on in the chat rooms. But in my thought of how did I not know that you could do this? Did any of you know in the audience that that could be done? We have the one. Why, oh, another creative life class. There you go. Well, in any case, clearly I wasn't. It's close of attention, but that's incredible. We we are truly run away well, and it's incredibly useful because, like I said, all of us are shooting video in one way, shape or form and all of us, because we're now know that weaken finally, massage whatever we do to perfection, especially hopeful after this class between the tango and the enhancing. Hopefully now what you've got in your bat utility belt in terms of being able to tweak images, is takes it to another level, especially doing it quickly and easily. I'm sure a lot of you have been able to do it in pro shop for ages. But that was kind of the focus of today is how can you do it in such a way that you're doing it in one continuous, seamless workflow, hopefully in light room or a CR So that is one of the main benefits that I want to get conveyed today. But the fact that you can add video to that workflow using some of the same tools that we've used all day is actually is a really big deal. Um, so, yes, I'm glad that people have liked that. Um, And as I mentioned, we talked about footy shop integration in this class. So what I wanted to do was a few more things related to photo shop integration, including some of the things that I was playing on covering in that panel before that chatty been, Wilmore showed up at the last second. Ben Jack, before you move on to those, we ask you some video questions, please. While we're on that topic. Okay, so we have several that air coming through one is from the free minder. Is this video function only available in light room four. Do you know if it's in light room three, it's only enlightened, for I only think you could do in light. Room three is You could have bring in your video into the library, and you could do it as part of your cataloging and keyword process. You cannot actually do anything of significance to it. Thanks. Question. From beauty of the Lake, Can you do more than one more than a beginning and end? Trim multiple clips from the original. No, you can't. And yes, you can. The great thing is about a video clip. How do you like those answers? You can make virtual copies of your videos, so that means if you want this happens all the time. So it's a great question you've got the camera was running for the entire, you know, uh, cake cutting scene. And you just it was running the entire time you loved the cake cutting, but you really interested in the cakes? Motion the nose thing, right? The beginning There's five parts of boring, so they have one clip. You're gonna take that one clip duplicated once. Trim everything except for that beginning part. Go to the virtual. Copy that you just made trim everything except for the cake smashing part. Now you got your two clips. Okay? You will edit those together. There's no actual editing of clips together within light room, but that you would bring in either into Photoshopped or Premier or whatever you're doing after effects final cut and then do the transitions there. So, yes, it's a matter of fact. That's what you do it in the easiest way is probably using virtual copies. Commander Pasta free, remember, is how you make a virtual copy and light room. Um, so yes, grateful to you? Yeah. So question from Ah Juran, can I sign a camera color profile to a video file in my report? Can you do a camera count with us? A very good question. And we're gonna find that out because we're going to come over here to our clip here, and we'll do two of these and we'll do that same sink and the process version and calibration is so all I'm doing to be able to see what's being done here is any time that you synchronize this dialog box comes up, so this shows you so if you want to make a little screen. Grab those of you at home. You wanna scream, gather what's currently on your screen. You can see the list of what's featured. Anything that's great out is not available, so the camera calibration is now. We actually haven't talked about camera calibration, and you could actually bring that in to your workflow. So let me actually bring that in, cause that actually could be very nice for video. Because if you're getting a consistent any time that you open up anything, whether video or still image and you're getting a consistent I'm not happy with it. It's a little warm. It's a little this. It's a little de saturated. The skin tones aren't quite right. There's a little something that's not right. There's something that's built into light room, an adobe camera raw called the camera calibration tab, and it's actually was designed for calibrating an image. Let's actually bring over here and find another shot. Here we use one kind of general shot. We use this as a special effect earlier on, and, um, the thought is that you can bring up something like a color passport. See if I've got one here. I do OK, so you can bring in something like this the color passport, which is fantastic little pocket device to have from X right. And when you buy this, this has a numeric value for each one of these swatches. There's a set value that should be a red, green blue value. And so the idea is that you can, in this case, it's hideously white balance. And I use this to teach white balance not to teach the camera calibration. So we're just come over here and it's great for doing white balance because basically, if you look up here, it has way balances for both portrait and landscape. These air all slightly different versions of gray. You see how this is a little bit more pink. This one is a little bit warmer, so goes from warm to cool. So you just simply come over here to use the X right color passport. Whatever you click on here is going to slightly warm or cool your white balance. You actually don't want inaccurate white balance. Oftentimes with a portrait. That's why we put warming jails on our cameras and things like that. So the color passport from X ray is an excellent little device for that, but it also has the color swatches and the color swatches, because when you buy it, it has the RGB values that they should be. You can actually come in here and calibrate your, um, Tamra sort of speak to what it should be. In other words, if you take a shot under your control lighting scenario and you're not getting accurate color, you can use this to balance it out. The's going down here to the camera. Calibration tab is giving you access to the emitted light primaries of red, green and blue so you can shift them terms of hue and saturation as well as doing a shadow cast. So this is what the question was, the camera calibration. Can they be shared with video? Yes, the way you would use this and let's go back to a. The portrait that we're working on is on the reason for this tab. Aside from just camera, calibrating a camera is, every single camera manufacturer has their own flavor of options in the menu. Okay, and typically when you're talking about color, you have vibrant and landscape or vivid or portrait or whatever each came or manufacturer and sometimes different models from the same manufacturer have different names for different settings in the camera and these air known as profiles. These aren't they don't actually change in RGB values, so to speak. They're changing the overall flavor of the image at a profile level. Adobe does not have access to that portion of the metadata that comes from the files the Nikon F in the Canon CR two or proprietary patented file formats. And so you can set your camera to portrait, and it will come into light room. But Adobe Light Room cannot read that that profile, so to speak. But we wanted to because we spent time and we chose that for a reason. And there's no reason. What you see on the back of the camera isn't as close as possible to what you see when you open it up in light room. And that is the conundrum. What I saw in the back of the camera I didn't get. So this is where the camera calibration can't have comes in. When you come in here and click on this, you're going to find a Siris of profiles listed here and these are gonna be based upon the camera that this image was shot with. And so you open up a image. If I go to a different image shot with a different camera, you're going to get a different list. What Adobe has done. They have backwards profiled all the different settings from the different camera manufacturers. So they know what a cannon CR two coming from this camera looks like with the portrait setting in the menu within that camera. So you can come over here and choose portrait from that, and you will get what you saw in the back of your camera. Very, very cool. And if you are getting on a regular basis something that is unpleasant in your camera, actually one of the first things that you should do before the tango or anything else, it's come over here and specifically look at thes presets to see if one of these is a more pleasant starting point for what you're working on. So, as an example, let's go back in here. Let's zoom up, get a little bit more Yes, thank you. And excessive zoom. Lets go into Phil. So, um what? I'm gonna do here is Adobe Standard. This is what's gonna do It's gonna do if you don't make any changes and you notice how that's flatter and cooler. Hopefully you can see it. It may be kind of subtle in a home. It may be difficult because of the compression of the video, but we're gonna come over here and now I'm going to go back to camera portrait warmer and richer. Okay, that's not going into shoes. Saturation and cranking up by brands are changing at H S l or doing anything. It's all underneath the hood. It's a profile. So it changes nothing to the file except that how it's being rendered out if we were to go to something like landscape Okay, that's gonna be a cooler setting typically, and you have vivid in whatever else. So the nice thing to remember about camera calibration in terms of workflow is one. It can be used for video. Cool. Um, another thing that's nice about knowing about video video is much like shooting J. Peg. In other words, it's cooked in camera. They're not raw. When you shoot video, anything in the menu setting in your camera is permanently burnt in or cooked to use. The raw analogy is cooked into that file, so those settings in your Cameron the menu settings are really important because those will stay with the file forever, as opposed to a raw file. Everything in the menu settings in your camera on your big boy Big girl, DSLR. Whatever else if it's in the menu setting, not on the tap top of camera, not your f stop shutter speed. I s o those air actually part of the file when you make it raw or JPEG. But if it's in the menu, which is contrast saturation profile terms of these sorts of color settings, sharpness, All of those settings are burned into the file on a J pick or in a video clip. So getting everything in your menu setting as dead on as possible if you're shooting J Picker video is really important. Okay? And that's why that's actually a really good question, because taking advantage of the camera profile in your camera when shooting video is excellent, because it's going to give you possibly a much more pleasant result. So that is really good to know. The other thing that I mentioned there related to that is, um, whenever you look at the back of your camera, the preview that you're getting is what you would get is if you shot J pic, but you're probably not shooting J pick your probably shooting raw. Hence, when you open up the file, it could be a sometimes, especially in the olden days. You'd look in your library or look in the bridge, and you see all these wonderful images. They look just like you saw in the back of the camera. And then every second you would see the image preview change back to flatter and muddier, and you're going Wait, I like that don't stop and every single one of your images was changing. That's because it was throwing away the preview, which was based upon the settings in your menu and giving you the actual raw file. Very frustrating. That's what the camera calibration has to get back to what you actually had in the menu setting of the camera. But the one thing that I mentioned here that is a little bit disconcerting about that preview on the back of your camera most of your cameras air set to an auto contrast setting. Okay, which means what is contrast. It's lightning the lights and darkening the dark's. What do we do? Is photographers all day long, try and maintain the highlights and not plug up our shadows? Right? Not have the blink ease on the back of our camera. Your cameras set to increase blink. Ease because it's set to auto. Contrast. So one thing of your shooting under challenging light and you want to have an accurate history. Graham on the back of your camera, the only way you can get close to an accurate history. Graham. If you're shooting raw on your camera, is turned the contrast. Setting in your camera in the menu settings all the way down to zero because that's what it's shooting. There is no camera contrast applied to a raw file. That's where we're getting this extra dynamic range. If you've ever opened up a raw file, you maybe even gotten blink ease on the camera and you pull out that highlight shadow, the highlight slider and all the sudden you're going. There was detail there. I thought it was blown out. It's because your preview on the back of your camera is lying to you because it's showing you based upon this auto contrast. What I do on my camera is I have a bank of options in the Nikon. They're called banks, so I could do a preset if I'm shooting under challenging. Contrast the light, especially something like a wedding. We have white dresses in black tuxedos. I'll use that preset that has my contrast all the way down. And that way, even though the images will look muddy or in the back of the camera, my hissed a gram, including my blink eases accurate. You're not forced or tempted to shoot 1/3 of a stop under which I know you all do or bracket. If you don't need to bracket or under exposed, don't, because under exposing actually does change the quality of your image. When you do change your exposure setting, that's changing what's actually grabbed. So that's a little tip related to that preview. On the back of the camera is have one of the options with your contrast down, so you get an accurate history. Okay, The other thing related to the camera calibration that is a really useful tip is if you find one that you actually like. You go. If I could have, you know, camera portrait for every time I do a portrait shoot, that would be so much better because I always end up doing a little warming of it. I always end up doing this. It could be that you come in here and fine tune any of these settings right here. OK, you can say you know the shadows. I like them a little warmer. I like the red a little bit more shifted toward the orange rather than the magenta. Fine tune this. Use any preset that's built into here. Well, let's back up. So here's Here's how to make your own preset for how you open up the file Even before you start the tango, Open up a file for Ah representational shoot. You do portrait shoots in your studio. It's the same basic lighting. Same basic set up. I want my image to start X. I want to start with camera portrait. I wanted to have a little bit more orange. I wanted to do these saturation. I'm gonna bump up whatever fine tune this year. Don't do anything else to the file. Just come over here to the camera calibration tab and tweak it. Then you're gonna come over here to your presets, hit Plus, and you're gonna say, Come over here and you're gonna go to the the calibration option over here calibration. And you're going to save that. You're gonna call this studio portrait one. Whatever is representational that shoot my favorite landscape. My favorite portrait inside portrait outside portrait. Whatever you want. That's representational for that image you are working on and you will give a descriptive name on that. Put it in the right place. The cool thing about making that preset is guess what? Presets can be applied on import. Right. So you're starting a new import. You bring in this entire shoot and on import in that little import dialog box, there's preset. All your presets are available right there. It's not like you do a black and white on important. You're not gonna do very much an important because that eternal of the shoot is probably gonna jump all over the place. So I'm not going to save as part of this preset tone. I'm not gonna do the tango whether they're pointing toward the light or there away from the light or it's backlit or Riml it. But something like the camera calibration is exactly the sort of thing that you would do, maybe for an entire shoot. So that's actually a really good tip. As a pre tango portion of your image is, go ahead and make a custom profile. Save that as a preset and you can't you have my permission to apply that on import globally to an entire shoot. And I would make separate ones for landscapes. Everyone's if you go, Maybe you do. Let's say you do our landscape. You go well, not only do I do that, but I always do 20 clicks of clarity and I always do X and I always do that. And my sharpening is always this. And when I do night shoots, I always have this noise reduction in sharpening make presets for all those different shoots that you do on a regular basis. And that way, when you had a night shoot and you're gonna bring in all these images, it has a certain noise reduction and sharpening. Coming from this camera, save it as a preset night shot. Canon, X, y Z and now on import. You've already got your sharpening your noise reduction. You've added your clarity. You've already done it. Now you're ready to do the tango. Okay, so that actually is a really good tip that goes gonna goes back to the this morning with optimizing. Thank you so much. Yeah. Question from film buffs in Tulsa Can you sink a preset setting from one image? A non video grab to the frame grab image which you can then sink to the remaining video. First off, there's nothing sacred about that frame. Grab. The frame grab is you don't have to start with a frame. Grab the frame. Grab just happens to be representational What the video clip is. So it's a good way to start, so you don't have to do that was saying cool image frame grab to video. You could go right from cool image to video and then fine Tune it here if you want. So if you've got an effect an antique ing effect. Since you have CP atoning and the HSE l, you could do a beautiful see Peotone that you've already saved and it will work great for the video clip as a matter of fact, you can go right to the video clip if we come over here and again. I don't have my presets on here. If we go right to the video clip in the library module, we can come right over here and let's say, copy and paste, probably if we had another image here, we could even do that. So if we come over here and let's do high key isn't really gonna works, we use that highlight and shadow. What did I do? We could do this one as an example. If we do a command see on this file comments, see which should be bringing up when the library module. So it's not gonna do it. We knew, man. See? And we can check off, for example, and say a copy. It's only gonna be able to paste what's appropriate to itself. If you go back over to the library module, can we pace that? We may not be a because it's a different module. It may need to be doing that sinking thing, But this is just to say that, um, you can use any preset from that started anywhere if the features of the priests it let's say the preset uses clarity. If that's not an option, it will not sink. So it does not need to go through the frame grab. There's nothing special about the frame grab. That's just a J pig. That's actually for those. I know a number of people are working in the bridge since we started off with video when we started off talking about that, this class would be appropriate for both video and for for light room as well as Adobe camera Raw. Some of the things that I did was planning on yesterday that I didn't get a chance to. I wanted to touch on. And that kind of how many of you guys were in the tips panel? The panel in the afternoon? Everybody. No. Yes, Yes, no, no tips panel. How many of you at home? We're in the up. You can't know how many of you were in there. There are some really neat things that were covered in the tips panel and because I only had a couple of minutes, I wasn't really able to go through really well. And some of them were things like combining bracketed exposures, um, taking advantage of this advanced blending sliders, Um, one that I didn't get a chance to get to at all. Um, was this one related to that? So I'm gonna come up here and we're gonna open up the ones that we used from yesterday, and we'll open them up into photo shop and specifically the concept here that I think is great and a lot of people have not, uh, I have not known that it's a viable option is what is known as the advanced blending blend. If sliders, we'll start off with the background racer just because then I'll have more time to spend with the advanced blending sliders. And we have gotten another people kind of asking about the specific parameters because I did it really quick. It was almost kind of a tease what I did yesterday in this, because it was like a little Anna. Hi. Cool it. Move on. So let me mention this to you. And the concept here is selecting a file in a second. We're gonna do it based upon the sliders that are built into photo shop. There is a procedural way of making things transparent, selecting something in Photoshopped been there forever, and it is Thea Vance blending sliders. But another thing that's been in photo shop for a 1,000,000 years, literally probably 15 years is what's known as the background Eraser, and it's incredibly, incredibly useful. So let's just do a little bit more time on it and let me get rid of that green. And the concept is is that, um under the regular eraser is the background eraser and it has some power to it that is dramatic. It's actually, from my standpoint, one of the best ways of selecting especially subtleties and photo shop because of the control that it has. So what we're gonna do and I'm actually gonna turn on that background we've got again a little shot of, ah, friends, little girl that I shot. And what we want to do is spice up the background. Okay, We want to give it some more umph to it by putting some clouds in the background. But we have blond hair. As we all know, blonde hair on a blue sky is blue hair, right? It's gonna be especially was on any kind of wind. You're gonna have basically transparent hair. So this background Eraser is powerful because it has some options that no other selecting future and Photoshopped has as a default looking up here and let's go ahead and we'll zoom up again as a default. The background eraser is set to this setting right here, sampling continuous. That means whatever you click on, it erases that. Is it called on Eraser? Does you no good whatsoever as a default If you try and do it, it's actually not even a good eraser. It's just a bad eraser, Okay, because it's just this kind of chunky stuff, and it doesn't so that's the background racer as a default right next to it. There's another icon up here in the options bar for the background. A razor, Um, that is sampling once sampling once, and that means whatever you click on it will erase, and only that within a specific tolerance here, this tolerance is set to 50%. Right now, you confined to knit, but it's saying 50% on either side of whatever you click on in that dead center of your cursor, it will erase, and only that very, very cool. Continuing on down its options. It's also set to contiguous, meaning that the pixels have to be touching for for order it to a race. Not a good setting, because if I want to go inside the hair or inside the leaves on a tree to erase the sky or inside anything, you want to be able to do that, so you have to set it to discontinuous. Okay, they don't have to be touching for it to erase. So you change it from continuous sampling to sample once from contiguous to discontinuous, and the real power comes over here. Protect foreground color. Now, in this case, if I don't take advantage of this, if I click on this light blue here, it's certainly going to erase this light blue in her hair. Because of this tolerance, I need a kind of a soft edge if I do protect foreground color. Even with this tolerance, if I have my foreground color, be this blue and I click on this blue, I can erase this and keep that now that is really, really powerful. There's no other feature in photo shop that really has that capabilities. The problem is, how do you really quickly and easily turn whatever you want to protect into the foreground color. The nice thing about the background eraser is if you hold down the option key on the Mac or they're all key on the PC, it gives you your turkey baster, your color sampler. So you simply come over here and click. And I just made that light blue selected. So if I click here, say please erase this, it's gonna come to that light blue which is over here in my foreground color, and it won't erase that, which is really, really cool. I can even take a big old honkin brush like this to use the technical term. And I can do this, and that includes being able to maintain the soft edge hair. That's just the fact that that's been in photo shop for 15 years, and nobody wanted to share it with you. Now you all know why nobody wanted to share with you. Why? Because nobody loves you as much as, well, Ron Robertson jags in the chat room and he was here yesterday and had said, Hold on to your hats. This is gonna be good. So it's good. And the thing is that you're gonna notice out of that thing. Wherever I clicked on, I clicked on a darker blue as it gets to the lighter blue here and I'm just gonna turn off the background. I'm going to come down here and click, and now it's gonna sample from this blue. Okay, so every time you click because it's turned on to sample once it can, I'm giving it permission to click and erase a different area. I got a little bit too close to the hair, so and of course, I've got a ridiculously large brush that's going all over the place. But by clicking everywhere that you want to erase, it will erase that. If I move over to the skin tone, I want to make sure that's protected. What do you How do I get the turkey baster to protect that foreground color option? Are all key Click now that color is protected. So when I come over here that's perfectly selected so I can go around and click on green or flesh tone or red or whatever. So as you move around a file as you move to another area, want to protect us? Hold down the option key click. You've protected it. Whatever you touch on will be erased. So it's actually very, very useful feature. Is that a question? Okay, so that is the background race. It's just something to have in your Like I said, Bat utility belt, Um, which a lot of people don't have. It's also really good for cleaning up. If you made a selection using some other technique, it could be that you come up here and use this to fine tune it. OK, do it. Use a different technique for everything but the hair. Come in here and just do that, Um, another little thing that I'll mention that it's kind of nice. This is obviously destructive. I'm actually destroying pixels here. It's kind of creepy. Okay, no pixels should be harmed in the making of any technique, if at all possible. If you really want to make this nondestructive. A nice feature that's built in the photo shop is that you can turn anything that is transparent into a selection by simply holding down the command key or the control key on the PC and clicking on its layer thumbnail, and you have marching ants based upon the luminosity of that file. It's a perfect marching ants selection that you could then use to use to create a layer mask on a file if you duplicated this beforehand, which I didn't. But then you could simply use these marching ants. Go over to your original and click on the Add a mask icon. Thank, and you have now made a mass based upon that selection so you actually can take advantage of that transparency and then use it to create a mask if you needed to. But you duplicate the layer beforehand, which I didn't do so that was the background eraser. But the real magic trick, one of the real magic tricks but we showed yesterday, was the advanced blending sliders on this. Is that probably the easiest sample? The concept here is especially shooting under challenging light. This concept of combining bracketed exposures. You now know that you have a huge man eternal range that you can pull out using the shadow slider in light room or a CR, so you may not need this as much. Manufacture entire concept of shooting HDR multiple exposures to get dynamic range, maybe a lot less based on what we did in the tango this morning, you can get away with a lot. The thing about to remember about shooting a challenge shot we're having too seriously under expose it, say for a sunset and you want to pull out that foreground. That shadow detail does not want to come willingly. It will come kicking and screaming, but it does not want to come. Okay, Shadow Slider lets you do it, but it's not gonna be the best. You're gonna have noise and some other things potentially there by shooting perfect exposures one from, say, the highlights and one for the shadows. There is no noise, and either one, they're perfectly exposed for each set. So that is the best quality. Still, there's a reason for shooting bracketed pairs or sets whether for using in hdr this technique here. This technique which again is on that pdf that's available on that fan page. Jack Davis. Well, I've got one exposure for my foreground. Quickly exposes over on quiet in Hawaii. Another one that is set for my highlight in the clouds. OK, which is significantly under exposing my foreground. This was not shot with a tripod. These air not in pin registration. What am I gonna dio you guys know Ottawa line shift, Click on your two layers. You don't that thing with the three legs that you've been carrying around. I don't want to step on any toes, but because you have edit auto a line that's gonna go to every single pixel in that file and try and align them what you have relied upon in the past for getting perfect registration. So you don't need to hand manipulate an alignment which you'd never want to do again. And now you never will. Because auto align, just hitting auto is going to get it within one pixel. You'll notice it moved one pixel. It may have rotated. Twisted, distorted did a perspective. It did everything you needed to do to get them into pin registration. So that's actually better. Even with a tripod, there's a good chance you're gonna be off by half a pixel. This looks at the pixels, the tripod. Okay, so the topic is how do I get rid of the stuff that is too dark leaving behind this beautiful, luscious highlight detail and the way we're going to do that is not hand masking, not hand painting, not doing anything else, We're going to simply go under the effects panel to the blending options. Okay, you actually can double click on this thumbnail. It will get you there as well. It just depends. Sometimes this double clicking on the icon is going to bring out some other feature based upon whether this is video, whether this is a graphic, whether it's logo, whether it's type this feature right here, you can use on anything in photo shop type graphics, logos, photographs. So that's why I'm recommending that you do this blending options because this will always work and basically what the advanced blending I'm sliders do when you open up the blending options that brings you up to the top layer of what's now known as the layer style dialog box. By the way, this feature has been in photo shop since one point. Oh, this was before there was even layers. This was part of a hidden paste command in photo shop. You could bring up the advanced, been lent lending sliders, and only six people in the world know about it now. Six and 1000. So actually it's canceled this and get into full screen mode so I can move this over here. So what? I'm gonna ask. Photo shop is based upon this slider these air known as the advanced blending blend. If sliders is, I'm gonna ask photo shop on this layer. Would you hide everything of a certain value? And what that means is I can hide the areas of this layer that are too dark or not correctly exposed for the shadow area correctly exposed from a highlights. Not my shadows. When was hit. OK, it actually did the selecting for us. The problem is, if you ever stumbled upon this feature, it's what's known as a one bit transition. It is pixelated. It's garbage. It's useless, cute, but not useful unless you know that Mickey Mouse Club handshake, which happens to be that thes sliders. If you hold down the option key on the Mac or the all key on the PC can be split, and now you have a perfectly smooth transition between what is invisible, what is completely visible and what is a smooth transition. So you get a beautiful but buttery smooth transition between what is visible and what's not okay. It goes from useless to incredibly useful in one fell swoop. So in here, we've got our before after before, after terms of be able to drop in information, the power of that quickly into another example here is that this also works on things that you would never want a hand select. So here, we're gonna do the same thing. I'm just gonna come up here. I've already aligned these. Move this over here, hide what's under exposed. Thank you. Hold down my option or all, Kate. And actually doesn't look like these have been aligned. And again, what I can dio is let's do that. We can even align them after the fact. Edit auto line layers auto. Thank you very much. Perfect. Thank you. I was able to take out all that shadow information. This beautiful, luscious, perfectly exposed highlight detail can be dropped in to this file without affecting all the beautiful shadow detail that was there. And this is procedural. This isn't actually transparent, but I come over here and double click on this. The file has not been changed. It is a procedural adjustment, just like what you do in light room. It is a completely non destructive feature that happens to be ridiculously easy two years. In this case, we have things that are very difficult to take advantage of or to compensate for is we have wind and bill palm fronds. So even if you're doing an HDR blending of different bracketed exposures, what do you do with what's known as ghosting when this case you come up here and you can change the blend mode of this layer? Since we're just dropping in thes highlight details, you can change it to something like Darken, and you're basically giving this layer only permission to darken what's below it. It can't lighten it, which means you can't have too little speculate highlights from the nice little green Palm leaves. So that way, when you come up here, even though there's wind you're going to see no, um, artifact ing, let's actually do this the right way. I'm gonna move it until I see my shadow detail. Basically, you move that shadow. If you have your darker exposure on top of your light, you move the slider over until you can see the shadow detail you'd like. Hold down your option All key. Move that slider until you get a nice, smooth transition with what you want to keep. If you want to, you can put it into something like the darkened or even multiply blend mode. Okay? And that means that that edges are going to blend together. Okay. And it's actually very nice for architectural work. The pdf that's in the assed part of those downloads actually goes through interior architectural, combining of images, which is really, really nice. Okay, we had time. If this was my computer, I whipped that out. The last thing that we did yesterday, actually, this was another one. Will this We did yesterday the power of this one? Because we've got this, you know, hand on its own layer and shows you how long I've been teaching this in four shot. I'm not gonna work on this layer. Right. I've got the hand is on top of the clouds. The power, the freaky power of this feature and photo shop is you can ask footer shop to give priority toe What's below this layer? In other words, I'm going to manipulate this layer even though I'm not on it as an example. When you use the underlying layer. If I move this white slider over. I'm asking Photoshopped to give priority not to hide it, but to give priority to the lights behind this file. And I can actually take the clouds and put them in front of the hand, even though the sky is behind the hand and do that same option or all click to move it and do a smooth transition. Now I've got a buttery, smooth transition, and if we look at the hand, the hand, even though that's what I did, the effect, too, is not affected at all. It is procedural. It's looking at what's below on this layer, and it's making one have priority over another. Okay, and that is pretty cool, especially because it's procedural when we take that hand and move it. It doesn't matter where you move the hand because it's you using the luminosity of what's below to do its effect. Of course, the bad joke I used yesterday is this is how Monty Python does all their special work, okay, and also because you're not actually masking. If you want to combine this technique, the blending, the events blending, blend if sliders with another masking technique. Let's say you come over here. Make a layer mask. Come over here to your radiant click and drag. Okay, which is on a radio. Let's go ahead and make it a linear. So I just added a layer mask. Click right. Here's Adam Ask icon Grady int over in the tool palette. Great. If you haven't used the Grady int, it goes from your foreground. Your background color is a default. That's black, White. We already know that black is going to hide. Whatever is on this layer White's gonna reveal. So I'm gonna come over here and with that mask active up, I click and drag up. That's how you perfectly blend two photographs together. If you didn't notice that that's also been a photo shop for a 1,000, years. The thing is, is that this is now taking two different blending methods. One a good old fashioned layer mask and then this advanced blending so I'll never see the edge of that hand through the clouds because it's not there. Okay, that's a good old fashioned putting a Grady int in a layer mask us how you do A nice little blend between two different photographs. Okay, Makes sense. Okay. Another little masking tip I have here. Here, I've got a piece of type one. This actually is a regular piece of type. Just good old fashioned white type. It's doing a little dodge and burn of the background because I'm using one of the dodge and burn blend modes. So another thing related to photography, especially with water marking or a title or the Smith wedding. Remember that these blend modes you have at your disposal or wonderful for doing little effects, like in this case, using type to do a little dodge on the file. Okay, if I switch this out to black type, If I made a I didn't want to change that. If I make that black type, it is now doing a burn of that type. By the way, how did I turn the type from black to white? What was the shortcut for Phil with foreground color option delete option delete. Since type you're not gonna be able to delete it. Option delete is Phil for typography. So option delete is a neat way of changing type or any graphic. Okay, so there's a little dungeon Berg last. This is the fun thing that I want to do here, and that is taking advantage of those blending options for blending something like this. I've got a background shot. I've got a flag just gonna move the flag into position. And now I'm gonna use the exact same thing that I used a second ago those advanced blending sliders to combine this flag with and let's actually cancel this and get into full screen mode so I can move it over tapping the F key gets into full screen mode so you can move something anywhere. If that's kind of manning to you, like me, that you can't zoom up to the upper left hand corner because if you're not in full screen mode, it's just kind of annoying. So anyway, that's why I eat like that full screen mode. Um, so I'm coming over here. We get to our sliders here, and what we want to dio is one we take advantage of blend modes like the ones I was just using overly and soft light or very nice for dodging and burning will say soft light. So now we've got an instant dodge and burn of the map onto the cliff face. Cool, but not nearly cool enough, okay? Because what we want to do is actually have that map be weathered on this rock surface, right? It would actually, if it was actually there, Especially something like this is gonna have all sorts of erosion to the paint. We don't want a hand painted with this matter. Fact, we don't want to hand do anything ever if we don't have to. Especially if we can automate the process and get better results. So what I'm gonna do is I'm gonna come over here and on this layer using those advanced sliders. Aiken one pull out all the white simply by moving that over. I'm asking it. Please hide. In the past, I was showing hide the black over here because that was gonna allow me to move to get rid of those shadows on the palm trees. Now I can move the whites. So now those whites are completely transparent. So now I've just got painted color on the rocks, and I can again also move that slider. So I've got a nice, smooth transition. I can also come over here and, um, ask footer shop to give priority to the underlying rocks. because I don't want that. When it gets into the shadows, you can see I've got a red shadow. It's really not realistic. That would be more black. So I'm gonna come over here and take out the color from the shadows. In some ways, I'm gonna hold down the option of all key, and I can just kind of get a much more realistic blending of the map into the shadows. I can also say, Would you please give priority to the highlights of the rock as if the color pate has worn off the top surfaces by doing this and now, all of a sudden, when I get to that right tone, you're gonna notice that the paint is being worn off the top surfaces of the rocks, and I'm gonna use that option or adults to split it. And you can see now how the paint is kind of going in and out of the surfaces. So here is before, after not doing anything other than moving the sliders, and it is now you're getting that interaction of the surface Okay, makes sense. But that's not the cool part. The cool part is, is that when you want to wrap anything around anything else. Like a photograph you've ever wanted to put like zebra stripes on a person's face or get really funky. There's something in photo shop known as the displaced filter. You can use grayscale information to bend, twist, distort an image based upon that grayscale information and basically what I've got here in my channels palette. And this will be our last thing that we're going to do here is I have a grayscale version of this document here. Okay, I've actually done a little blur to it, so it's ah, little bit softly here, and I can actually come over here in this little icon right here. Okay, Groups. Not that one right there. But this one, right? Ah, duplicate channel. And I want to do it to new document. So this is going to save off this Alfa channel, this gray version of the document as a separate PSD file. I can just come up here and save it. Say Okay, this is a separate document. Now it's only one layer to it and I just save it and save it as a PST. What that's going to give me and this is what this is right here. So this is my safety PSD version of the document. The neat thing about that and why we're bringing it up here is that I can now go with this map active the flag, active, active, filter, distort, displace. It's gonna say, What would you like to displace and how much do you want to displace it? I'm just gonna do five pixels in one direction and minus five and the other so it's going to split the difference, and it's gonna move one slightly this way and one slightly. This way, you're going what it's gonna now ask me, but it's gonna move pixels, different directions. And now it says, What would you like to, um used to do that? Displace. And I've got my displace right here. That document that PSD file And when I say open, I probably could have done it 10. Now that map is following every Kratz. Actually, let's do this. We'll do it one more time. We'll do it. Tend to exaggerate it for teaching purposes. The displace. Now that flag is following every single crack and crevice on that wall. Okay, which is actually very, very cool. We do have one problem here is that we have the woman. She's being covered by the flag. So I just added, Put her on a different layer. Okay, so that was taking advantage of the displaced filter. And we still only have There's the flag. That's what it actually looks like. Okay. And now you can see the distortion, but the distortion is following every single cranny that's in here. The last thing that I will do you thought that I would really was done is I actually have a piece of type here, and that's live type, okay? And that life type. If we if we turn off the effects, that little what's going on here is actually a layer style bevel in Boston, shadow is just flat. Okay, so creative live rocks. What would be happened if we apply it a displaced filter to typography or a logo? If you've ever wanted to carve a logo into anything and have it perfectly match and again, here's if we turn off our bevel in and boss, there's our topography and it's live type. You can continue to edit that if we want, I'm gonna come over here and do the filter to it. And now the typography is following the crevices in the rock. Okay? And the technical term for that is pitching. So that was a few things that I didn't. I was This was the tip I was going to do yesterday before Ben showed up with the last second. But, um and actually that I'm gonna undo that and do that again now. But I'm gonna do it at five. Because it doesn't need that much. Okay, much better. Okay, so now, as you look through it, it's actually following on our little nooks and crevices in here. Okay, that's all that we can cover. That was, but I wanted to show that one. That was a fun one. Specifically, the flag is most important because that ability to use those advanced blending sliders is a really neat way to add a patina. One of the things that you're seeing in photography that's really popular now is all these scratches the weathering, the aging, all that buffing by being able to add a texture on top of another one. You something like that soft light blend mode, and then use that advanced blending. You can tile and exactly how much of a texture you want to apply to an image. Okay, so that's another useful application of the advanced blending sliders.