Photoshop Smart Filters: Fantasy Image
So we're going to jump in and we're going to be doing the magic of smart filters so I'm not going to be doing any magic tricks but I got to be doing some things with built its but one of these I might show here before we get started is filters there stuff that really useful and I used to use a lot I still do but I used to do when I started off about fifteen years ago kind of doing this stuff I made a lot of illustration stuff and so I used the filters a lot so this is kind of what you can do using filters inside of photo shop so these are all created one hundred percent of photo shop with no illustrated no photos or anything like that so these air basically start for a blank canvas and then use some filters to create these now this was done finish up five not cia spy but five so there wasn't later styles or anything like that and so a lot of stuff that we use layers thousand adjustment layers of stuff for now we used to have to do that with filters all the time so there was something I...
did that was actually the first photo realistic peace over did then I did this one year later and I won a couple of guru woods and all kinds of stuff and my career actually got launched doing that camera and this guitar so I've got another close up of that I could show you in a sec, but these old done just there's no photos or anything. This is just using filters there inside of photo shop, so I did want to kind of show you there's a little bit just you can get a feel so you can use them for illustrative stuff you can use them for design stuff, you can also use a photographer stuff, so in this segment, we're going to focus more on working with photographs with filters. Then we are on the illustration side just because I feel like I'm probably more of you are working with photographs and most of creative live audience a photographer so let's do stuff it's relevant? All right, so let's, go in here, so we're going to look at some things we're going to do now. You might be familiar with filters, I'm going to put up this image. Here is just a little composite I've been working on. And, um well, that was maria, let me just go back here, just give me one second to close out these other images and we'll get back in here and we're just gonna watch this photo so it's just a little composite here's a cost player on guy shot at comic con and then I just kind of put a few layers together here we're not necessarily going to get through how I diddled everything that I'm doing, but one of the things that we want to do with this, though, is, you know, if we wanted to sharpen this so a lot of the time you'll save sharpening to the and special when you're doing compositing says you can see here, you know, there's all kinds of layers of being built up, you know? So here's the background let me just go through a little bit so he's a background there of a castle and I just kind of changed that and added some different color effects and hear little curve, so I really wanted to fade out the background painted in some smoke so more smoke, a little bit more smoke and yet more smoke everything looks better with smoke before halftime, I can show you how I painted the smoke if you like to it's just before brush, but then he is that cost player, and so I cut her out from the background, and if I had shifty, I could probably show, you know, I can't I threw that away, so there was a background was under a tree, basically I said comic con, more smoke and build it up if you know some colorizing effects here and you know they were doing a little more coloring a lot of coloring and toning so a lot of you know the key when it comes down to it is you can see here so I just want to build it up and show you this with the color a little more coming down here says warmer down there maybe there's a flame or something and then just more color coming across there so a lot of it you know when you're working with these composites and stuff like that and building up the pieces is all about toning and coloring as you can see there you know you cut it out nice and clean and then you want to kind of make everything with nice so this point we've put away these layers ever need together now what I want to do is I want to sharpen it so there's two things I do at the very end and you can see here is noticed the coloring here is it the very end and then the sharpening and the reason I do it all together is because I want to pull all these different elements to get a and make them look like they're inside the same photograph and this easiest way to do it is just to sort of things on top of them so if we want to sharpen everything and I want to shop in a quite strong because I want an effect here so we know that you know a player cosplayers way back here I could go on and I could sharpen this layer if we wanted but what I want to do is instead I want to sharpen everything but I don't want to sharpen her face so much because you know it's not flattering and when you show up in your face too much is probably really being sharpened a little bit in here so what I'm going to do is I'm going to select old the layers now one of the things you know you might I do and I do a lot as you heard the command shift option everything and all the modify keys and you hit the iki right you do like like this so you get a layer in the top of composite layer stamp visible or whatever that's one way of doing it but the way I'm going to do it now is actually going to be more flexible so what we're going to do is we're going to like the old man layers and then we're just going to convert this to a smart object so if we right click and convert this to a smart object what is going to do some take old is layers and then wrap them inside this might object and this is where it becomes a smart filter it wasn't it was twenty filter earnest my photo or as far as the filter goes absolutely nothing but what makes it a smart filter is it works on a smart object, which means it's not destructive, which means that you can change your mind at any stage in the process. And that is where the magic comes in and the power comes in because if I take a layer and I apply a filter to that, and then I do four five things later, and then I go home, I come back and change that it's too late and one of the things that happens a lot when you're working on images, you know, if you starts a playful just, you know, a little bit, a lot of little things eventually become a big thing, you know? So you might filter a little bit ago that looks pretty good, and then you do something else and then something else and then something else, and then suddenly, that thing that seem really settled now is like, screaming in your face because it's got all these other filters stacked on top of it, and then you're like, well, you know, maybe I could back that off, but you can't. But if we apply, this is a smart filter we can. And so what happens is if we look at the smart object here and we look under filters all the filters that are not great out which are you know, a good chunk of them you'll see under some of these like probably under some of the random one some of these air a great out the ones that a great out will not work as smart filters but the majority of them do and you'll even see, you know, like mac phone and some of the pledges that party plug ins will also work smart filters you know, we looked at the knick ones they work for the medics work so if you want to know does mice plug in work is a smart filter if it's not great out it does so a lot of them will work and so at this point here what we do is when we apply the filter no, we're not applying to filter directly to the pixels were applying to the small object the smart object is a container it holds everything for example you know, I've got some reading glasses in here so if I decided to you know, put some paint on these reading glasses you know, it would be really hard for me to see through them you know, I put them on billa well, you know, I can't see a lot andi if I change my mind later is like, you know, I realize the paint looks good but it's kind of hard to see through the lenses well, you know to bed but if I put these in here and I put this walk campaign in here and I put some other things in here and then I spray painted the case and I'm I oh yeah, it was kind of cool, but you know, I could open it up and these are protected and you know, I can still see through the glasses and my walk compounds not old gooey and full of paint because I applied to the container so essentially it's what's happening so when you create a smart object olders layers and all those things you're throwing inside the object just like a case, this is that smart object so when we fill to this we're filtering the smart object and yes, it will affect the appearance of everything inside there, but if you open up, this might object all the pieces in there untouched, so that gives us a lot of advantages to work with. So if I go here right now and actually a filter and I choose us and actually zoom up two hundred percent double click the magnifying glass we can zoom in here so we can see it nice and close and what we want to do is we want to sharpen this show back up just a little bit so I could see a little bit more and I want to play you know, as sharpening not just to make things look chris but to actually create in effect as I'm tryingto create effect here that emulates a popular television show and if you look at the posters and stuff sharpening over sharpening is actually part of that effect to create that look and feel now it's going if I put it on her face well you'll see that we go here and she's a filter and I'm going to go down to the sharpened and I'm gonna plan in shop mosque and this will work just like on shop mask always does you know we've got the amount how much do we want to sharpen this? The radius is how big do we make the areas because basically whatever and shop mars does is it finds the areas of contrast where finds an area that's a light which is overlapping an area of dark and what it does is it sees that overlap and then it finds that edge there and an edge contrast to the edge so darkens that egil lightens that edge and create a little line around it almost like a little outline but you know if it's done right so small you can't really see it but what it does is it gives the illusion of things being sharper because you're basically essentially putting outlines around everything so the radius will change the size of that outline so if I increase this radius like really super wide you khun get to the point we can actually see it see there so there's outlining what it's doing here so the radius will decide how thick a line do you want the threshold will protect areas so those areas that are very, very flat and it's just a little texture on there when we turn this up it will protect those and will only sharpen the ages if you anyone to do the edges, you tend the threshold up really high and those edges of where the high high contrast is when we pulled up their shuttle the way down to like their I turn it off it's gonna look a textures it's going to look at edges and everything is going to be shopping exactly the same amount because it just as going to shopping across the board so a lot of the time what we do is we'll play with the threshold because what we really do a strapping ages you want to sharpen his areas of detail, but you don't necessarily want to sharpen the texture, especially on people's faces so that's where sometimes you use that little threshold it just to protect that fine detail and what it does to a zit stops you sharpening noise because you don't want to shop in the noise because you're bringing attention to it so so what we're gonna do what you put out radius down quite low here on this is when I say low it's low for the effect that very high for typical sharpening typically sharpening I'm around about one hundred percent up here and I'm around about between point five and about one point five or two is a pretty good city with a threshold of zero is a pretty standard kind of sharpening that you might do so in this case I'm going to push this up a little higher and because I want this effect and cisco that's cool effect on here it's bringing out this textures make it a little bit gritty, which is kind of what we're looking for anything that's where I saw it all the way off and I'm gonna play it so it looks looks cool here, you know, for this texture, right? So we've got that maybe it's a little heavy handed but that's good for the city illustration but when we looked at her face is like, oh my gosh she's got, you know, an outbreak of measles unfortunately she bar counter measles was was nice this oh yeah, it doesn't work well on her face, so this is where and I'm kind of over exaggerating this a little bit so you can see what's going on this is where the beauty ofthe smart objects are with the filter so smart filter sees this might filter here a couple of things you can do right one we can turn it on and off syria is with him without just by ten minute little eyedropper on the other features we have here is we can double click on here and we could actually go back see there's an shop mask again so I can literally go back and I can change these cities after the fact so if I'm not happy if those sittings their decision on maybe a little threshold this protects some of that skin I couldn't do that so I can play around with them not stuck in there the other thing is we go over here and we open this up this is really cool because now we have blending mode so we can literally apply blend modes on the filters so it was a little trick we used to do right when I say we is you know probably dating myself for herself but back before these were invented what used to do is you'd apply a filter and then if you wanted to change it you could go up on the edit fade it's still there so you apply some you go back to ed and fade but if you touch anything their fate will be great out so you can undo or fade your complete last action now with the smart forces you can do this any time I can take the a passage can say you know what I like this but I'm just going toe take it across the board, I'm going take capacity down and apply it that much, so I don't have to apply at full strength. I can fade out their amount of that adjustment, or I could mix with a blend mode. In this case, I'm going to keep it a one hundred percent because what I want to do is demonstrate the mosque when if you see a little white box on there, that means that there's a mosque. So when you work of adjustment layers, when you work with my filters, you get this moscow automatically. Now, as you know quite reveals black conceals. So when white is on a must it's having no effect, it's not doing anything, if I was to fill that mosque with black, then it would hide that filter, and then I could go in, and I could choose a black brush and paint that filter in this case, because it's photo of white that filters on everything I can choose a black brush, and if I paint with my black brush, aiken paint away that filter where I don't want it on a photograph. So this is where the real powers we now have painted ble filters, and if you think about that and the opportunities that opens up it's amazing, I'm amazed by how many people never use smart filters. And they don't even know what smart filters are their filters that you can paint on I mean it's so powerful so for example, I'm here and I like I don't like that feels about don't like it on your face I'm just gonna go black and he's going to find it right off so we still have the effect everywhere but now I'm not going to get sued by the models agent and you can just paint it away, right? So all the areas of skin that you don't want that effect, you can paint it off and you might find some areas you know maybe look a little bit noisy and you want to paint those out, you can literally go on and just paint those out, but on top of that, you know, right now I'm just pointing that out full force on if I show this, I'll hit the shift key and you can see what we did before and after look at that and if I turn the whole filter on and off before and after, you can see now we've been able to filter the other areas without missing up your face so much so we got the effect and she still looks good now if you wanted to bring it down just a little bit, so we got a little bit in the hair but not so much you could do the several ways you could change the past city of the brush or you could do the equivalent on a mosque because shades of gray work is a passage because if you remember black is zero and white is one hundred percent visibility, then any shade of gray in between is also going to be that percentage of transparency, meaning if I the darker it is, the more painted away, the lighter it is, the more it shows. So if I change this brightness, which was what the beers under here that's hsb, which is huge situation in brightness and I changed the brightness here to fifty percent, we get fifty percent grade and that means now when I paint with that, I'm going to be painting fifty percent transparent. Now you could do that with the gray brush or you could do it as a zay should you really aren't just by changing the brush capacity? Now? The difference between painting the brush capacity and changing the great is with the brush capacity. Each time I paint with here, I'm painting with fifty percent, which means if I go over and I'm actually painting more than fifty percent, I can be painting up two hundred percent with success of strokes if I said this to this gray, I compresses heart as I want that gray is never, ever going to go darker than fifty percent, it'll never surprise its own color, so that way I can go in here and I can just paint now what I'm doing is I'm half filtering the here, you know, I'm not making this look beautiful little I'm just rushing across so you could get the general idea. And if we look at the mosque here, which was option, click on a master, I'll click on unmasking, you can see it knows we got fifty percent great around here, and I could even actually just getting here. So let's, make this look better to see what's going on and his black where we're not filtering option click again and you can see that we're able to control not just with the mask the filter isn't with the filter, isn't but how much of that thought isn't isn't? So you literally you have the ability to control exactly how that filter works on the entire image, so I don't know about you, but I think that's really super useful so that's kind of like, you know what we did with that before and after is hard to see it that size, but once you zoom in, you can see it wasn't pretty with it full size.