The Magic of Smart Filters

Lesson 5/6 - Lens Flare with Smart Filters in Photoshop


The Magic of Smart Filters


Lesson Info

Lens Flare with Smart Filters in Photoshop

J j abrams time it's time to create j j abrams lens flare all right it was it was a joke anyone which is a d j abrams film you will notice from now on if you haven't is a lance player in every single scene sometimes two or three and I wonder if that was like this whole thing because he started with alias that went back and it was a lance player in the logo alias says like yeah, he loves lance players ok, so here we go we've got a picture here shot this a long time to get my friend case sir, you probably hate me for showing this. Um so anyway, so here's something I noticed about lens flares, right? And when I say landsberry I mean, you know, the lance player filter of vanilla style winds flare filter is something you're allowed to use three times in your career no more it's kind of like a joke and I used to say you can use it once got a little bit more lenient now, but there's one of the things that you find about a lance playwright not number one is making sure it's coming from the rig...

ht location andi think about what does it actually do and what you want to do is you want to look at the real world I look at the world all the time I geek out of things, you know, I stare it shadows, I wonder, you know, like, how to different objects react with light in the absence of light or addition toe light like lanza's, you know, howto they distort labs in light goes for a transparent object. What happens one like this for a semi transparent object. What happens if you standing on a mirror? If you put a light down it, will there be a shadow announcers know, but because the mirror is essentially light so that it becomes a light source. So there's no shadow on the light source. Andi, how do I know that? Because I wondered and I looked so what you want to do is you want to be curious about things about objects and how they interact with light, and when you I understand how they work and then you reproduce those things and your art it's going to look so much better in your photography in your illustration, whatever you're doing, you know, and for target used understanding how life works with shadow, how it works well, for fraction, how it splits, how words would cost six different things like that. Then you look for those things and maybe even add those things when you're doing your photography and you're going to create really powerful, dynamic photos so one of the things I noticed about a lens flare number one it has to come from a light source. A lens flare is only created when that naked light source is in line with that lance it's almost like red eye for the camera. So if you have this, what if you put a lens hood on the air? Right? So if there's a light source like here like so there was a light coming down and that light hits the glass reflects occurrence that glass and that creates the flare that lens flor if there's a lin's hood there that direct light doesn't hit it says on ly bounced light there's no flare. So if you're gonna have a lens flare, you have to have a visible light source in there. Otherwise it's not accurate so you could get it coming from the sun you could get from a lightbulb whatever so so make sure is doing because I see the lines players coming from the shadow side and it's like, you know that's, you know that's a great effect that is not possible s o the other things the battle lance play when a lens flare hits things, uses a very, very intense area of light and if you look at photography now, this is where it's not necessarily the real world the limitations of photography you still won't understand too and how that affects the image so if you look at a photograph and you overexpose something your I won't this is sometimes it will see it in extreme cases, but you'll see it on television you'll see it on your camera where this you're dealing with sensors is you get f anonymous known is blooming, so then what is blooming means it means it's below not just blowing out but literally blurs that object because that light is overpowering, so if I've got a source of light coming say on my shoulder here that comes through, you're going to have a light source it's going to be hitting it and you're going to create this area of bloom and what this area bloom is going to do is it's not just going to create that lens flare effect as you'll see different parts of it, right? So, you know, since I'm coloring is it's a little concentric circles of whatever spreading out across the thing, but the other thing, we're literally lighten up part of that object because as that, like, just burst and explodes over there, we'll lighten it up so you're gonna be thinking about these other elements so you don't just throw wins for I mean, you could in this awesome lin's player and or we can add these other elements so I'm going to show you how to do that right now, it's kind of a technique that I like to do to create a more dramatic kind of a landslide now there's other things about working with lens flares, I just do want to mention too positioning linds place can be a little bit of a challenge sometimes, right? Um there's some tricks this tricks out there, so I'll show you the first trip for positioning, a lens flare and the sort of work sometimes what we're going to do said the option key and create a new layer and if we had the option, it gives us the options that's all it does option for options, and we want these options. What we're gonna do is we're going to change this to overlay and fill it with fifty percent great. So what's essentially is going to do the same technique used for dodging and burnings that creates a gray head and layer and because it's an overlay blend mode overlay blend mode ignores gray. So what we've done is we've created just basically in mutual layer and the reason we created and neutral airs if I start a new layer and I tried applying lance plate of this and I go under the I think it's under the render it's where they put the lens flare, this is what'll happen on a blank player oh I can't do it there's nothing there okay so that's not gonna work number two if I go on the image I can choose a lens flare are going to hear filter and I could get orender and I can apply a lens flare and awesome things I can see what I'm doing they can move up there in the image and I can click and apply but I now have no options because it's part of the photo so that's not going to work so the next thing I could do is I can create that mutual gray area and if I go up to here and I go under the filter and I'm going to do the lens player I'm going to go into distort and actually actually just reapply the last one that would actually work um render and we're gonna go on the lens flare and I can apply this lens flare onto the image right so there's a lance player because we've got something to apply it so the only thing that showing now is the flare but we can move this around so that in position it wherever we want the caveat to that is you see these edges they're gonna cut so it doesn't matter so much is working on a light background work on a dark background only be filled us with black just to show you so if ideas with dark background I should probably won't work on dark on black many thoughts of clouds when work on perfect black either um it's just after a pattern in here just for fun I love that patent so beautiful gorgeous in that and we'll make it dark the bubbles I mean, who thought doubles would be useful anyway of so he has a problem, right? So you apply that lens flare and when you move it, see how it gets cut and you start to see that and when you work on a darker background it's morbius so that's sort of works and doesn't quite work selling me undo this and I'm going to show a couple of tips so one of them is if I create a smart object and I'm just going to unlock that layer by clicking on it I'm gonna give you a couple of options here because this is always gonna work if I do a smart object and I go under here now in the smart object I can go down to my limbs player and let's see if it works under we can apply it and we can see it oh that's awesome and weaken click on here now the cool thing about this is because it's ah smart object I can change I can double click and I can move it after the fact so we have their possibility that's great the only problem with this is I'm going to show you some other techniques that we're going to do with this and we're gonna want a mosque those techniques and the problem is if we must those techniques you remember I told you something about using the smart filters right? The smart girls is getting one mosque per image so whatever I must on his other ones is gonna muster lens player so we're gonna lose part of our lens flare if we wanted to work with I don't know what other layers so let's undo this and I'm going to show you something that's kind of interesting you might not be aware of, so what? We're gonna just gonna grab at great length and we want to precisely like pixel precisely position this lens flare right here so what? I'm going to just open up my info panel, we're going to go under the window and phones and see the info here and then I'm going to grab a tool that you thought you could never use no tall I'm literally doing this just so I can demonstrate the note talk because I feel so sorry for no, I'm joking, okay, so what we're going to do is we're going to find the point and ensure that see that tip of their point there, you know, with the two itches that's actually a precise cursors if we want that list for two hit right there what we want to do is look at x y co ordinates x y coordinates it down here so if I look here I can see what we're about thousand fifty eight to five fifty two so it's just two thousand fifty two five fifty so we do one of fifty teo fivefive let's be exact ok so that's the x and y coordinates I know that sounds really matthew and geeky if we want to put a lens flare so I'm going to go back to my great layer here and now I'm gonna apply the lens place we're going to go into the filter we're going to just like we did before go downtown render we're going to grab a lens flare and here it is and in some ways gonna happen um what I did is I clicked the option kate let me hit their cancel had the option key and what it does is nl's enables me to pixel precisely position that lets play so I'm going to do one of fifty that we stay one of fifty verses five fifty eight no versus but there's the x and y coordinates of that and now that's going to put that lance player a supply it bump exactly where we wanted it so you can apply that lens flare to the pixel all right that's cool awesome all right so now let's look at the risk of this now here's the other thing when you apply that lens flare remember had told you blooms that kind of creates something in there like where you lighten up that part of the object so what we're going to do is where is she going to enable it toe lighten up their part of the object so under here into the smart object there's a smart filter that's not really a filter is an adjustment and his two adjustments only two adjustments inside a photo shop that work as smart filters and let's have a look and the image adjustments here they are hdr toning and shed our highlight shadow highlight is no available is an adjustment later, but you can use a smart filter so I'm going to play my shadow highlight here right now and I'm gonna open this old way up you know what I'm trying to do, right? If you look at this, it doesn't affect the mid tones or the highlights look at that and when it catches up there all it's doing is burning up the shadows or getting rid of shadows. Now think about that if you had an object that was blooming or we're going to flare, what we wanted to do is get rid of those shadows or reduce the shadows, which means there's a light source that's hitting that so now we're bringing in extra level of realism that you don't see and just glance players now we can adjust how much we want to have we turned on the options here waken duthie tone here and this will say you know what? I want to go here and affect only the darkest shadows or I want to go over the weapon to the mid right so that's you khun literate literally decide how much shadow do you want to take just the darkest or dark regions so we can literally dialling where we want to affect it and and this radius is just kind of a tone mapping thing that will work in there so this is abusing the shed of highlight, by the way, but notice it doesn't change any of the other stuff, so I'm just gonna click ok and no of applied that so the cool thing about that now is that I can go in here, grab this mosque and I'm going to get rid of the whole thing saying, hey, come on, dia control I tow inverse. So now what we've essentially we've done now is we've just got rid of the entire I felt it it's there but it's not showing its hidden so we're gonna turn out lands playback on and you know, I'm thinking about there we've got the area, so what I'm really like going to do now is I'm just going to grab a brush and a group of white brush and you could do this two ways by the way depending on how big you want it if you just want a small but you could get the brush tool here and you could literally just go in here for white brush and just painting that area you want to brighten up the hide it for the soft ege bush I'm depending how handy you are with a brush if you're handy with a brush you could just go in here and just paint that and like that and then we turned that flare on and suddenly hot looks much more realistic right before and after she was done to get more realism you could do that or if you're not good with the brush just using grady until here and just a radio grady and like the white you could do the same thing so essentially what we've done now I mean this is very subtle but trust me it doesn't make a huge difference when you start applying this to your images and then the other thing you might want to do is do a little bit of colorizing so maybe that life is not new is it really going to be like this? We're gonna do a color so I'm gonna jump up here and I'm going to create a solid color you know grab a nice warm color um energy oh you know what? This looks weird like that because I'm on the brightness from earlier on, we get back to hugh, which is a church, and this will look normal. So we grab, you know, kind of a warm color that's, one tone, and that looks awesome. So what we want to do now is we just want to convert this command. I will invert that that will hide it. And all we want to do now is grab this mosque from here and apply it so control click will select a mask, right? Just like you can select transparency on a layer by control clicking we can also control click on a moscow selective transparency. We go up here, select the mosque now for a color and we're just gonna fill that with white and we have essentially created a color there right now it looks like he is and that's where the magic of blame modes comes it. We could do a couple of blend muds, color mobile work really well and screen mode. We'll work well too used to see now we're getting a little bit more now. Lin's playerstunnel look a lot cooler, right? So we can kind of drop that in there. And literally. So you know, if we were going to do just a regular lens flare is the lance play filter? But no, we apply that to blind up the area, put a little color in there, you know? We could make it more colorful, whatever, and you can kind of see sometimes you might want increase the size of this and maybe we'll select them blur a little bit and I'm actually gonna believe that must actually I'm not even gonna blur I'll say another thing to do if the musk is actually diesel like that, musk and I'm just gonna expand it so you could control t for free transform and as you're going to make this mosque bigger, see that I'm holding the shifty to constrain and holding option keep moving from the middle, and what I'm doing is I'm letting that color spread because you know why? Because that color is actually in a spread further than the blue the bloom is going to be smaller, and you could also do this in colorblind moz, if you wanted to do it more like that, you can, depending on the effect you're looking for, um and let me take this back to I like the screen blind mob, so you can kind of see that we're creating this much more natural looking lens flare there so that's by doing all these different things and if you do compositing and you start seeing it, it starts to look very, very cool let me show you an example here we're just quickly apply it here so here's an example here we've got the good person we got the villain so that person that it took that photograph off um is all of their work essentially to just put this date up here in the building so you know, a lot of the time it's going to be lost you know? You're not even gonna notice that he's up there so what am I doing getting control z so you don't even see he's up this a maybe this is a good time to add lens flare to bring attention to the fact that we've got went to all that work to get that dude up there so I'm just gonna do it really foster I'm gonna do it super fast this time I'm going tio convert this to smart object tenenoff converted just might object here and, um remind click my mind is going wild here compared to smart object, right? Click convert to smite object, right? So I'm going toe create this new layer here I'm option clicking, creating the new layer and we're just going to fill this with great overlay blend mood blah, blah, blah great were hiding it, so now I'm going to show you another shortcut, eh? So what we're going to do is gonna play smart um, lens player test might object, we can't keep it there, but we're gonna play it there and it's also a way so we're going to go into filter, we're going to go down and we're gonna grab orender and under the render sittings, we're going to grab our lens flare now, the reason I'm doing it is because this gives me a preview, I can see where it isthe, so I'm gonna drop it there, you know, we could play around for the city is on there, I'm not going to bother with that, and I'm just going to click, okay? So we're replied a wins, but I like where the winds player is that works that's, that's where it should be, so I'm gonna undo it now, chelsea and now I'm going to select my grade layer and guess what? If you apply a filter, you want to apply that felt exactly the same again use control f or command f right? Because I know if I tried to do the render lin's player with the great you can't see it, so I had control f bombs going put that lens flare in exactly that same spot with the same city, so we were actually able to create that they're on that on a great labor there. Doesn't look as dark because it's you know it's overlay on top of it you can change the blaming modes of course if you want to make it brighter but what we don't want to I just want to kind of get just their basic lance player effect there because now what we're going to do is we're gonna do the same thing we did before the shadow highlight, so we're going to go under the image here and we're going to change image adjustments greta shadow highlight to essentially the same adjustments just to brighten up that area here let's make it a little brighter click ok come on guy to invert that we've hidden it no, we want to go up here we just want to paint that in grab a brush and essentially painting it in there so I got a little bit of brightness there and in the last thing we did remain where we made this solid color here if like an orangey color or yellow whatever care there and I'm gonna put that on the top and the reason putting on top it said that lens flare also changes the color from that default rate ish kind of color so people don't go all out and out of the box lands player and change the color blind mode I'm gonna come on I hide that son like that some testing same steps again go up here and now we're going to fill that with white and if I don't like tellem oh no big deal I just go into here and I'll change it to screen blend mode and we see how we're able to stop playing around now and create this kind of lens flare up there I mean it's it's not perfect you complain about the color probably make it a little different I don't like that color much there we go change in there a little bit and you get the general idea so what is doing now is it's not just highlighting the fact that you know you know, adding a flagrant now we can actually notice haiti you actually went to all the effort to photograph that guy and stick him up there now one of the things I probably would do is play around a little bit the mosque ing to make this a lot better like maybe I'd start some ask him a little bit um and to do that actually you could just select everything computer everything too smart object and so we got one smart object at the top there um you know, we could just zoom in there and then literally just start teo you know, just must come out on dean, let him show a little bit I'm not gonna I'm not gonna bother with full of that right now but um you know, it's essential. I just want to show you how that technique works. So that's, kind of probably a lot more than you ever thought you would need to know about violence flares.

Class Description

Colin Smith will show you the easy way to make your images pop in The Magic of Smart Filters.

There is so much more to Smart Filters than non-destructive editing. In The Magic of Smart Filters, Colin will demonstrate the full range of their creative potential. You’ll learn about Smart Filters with blending modes, layers masks and more.

Software Used: Adobe Photoshop CC 2014.2.2