The Magic of Smart Filters

Lesson 4/6 - Tilt Shift Effect and Halo Removal in Photoshop


The Magic of Smart Filters


Lesson Info

Tilt Shift Effect and Halo Removal in Photoshop

So what we're going to do is this is a similar things a different angle bit I'm going to show you how to make this look much more realistic then just a simple till ship so let's do it right now so here's our smart object notice because it was a this was a profile I opened in camera roy and I chose to open it as an object should I do that again in case you missed that? Because that way than if the computer too smart object I'll show you here I just want to make sure you don't miss that it's a dmg files so if I double click on this tng it'll opening camera broad and you'll see an option here's his open object this could be controlled by this little hyperlink here and you get to choose as an object or not so if you turn this on all open it is a spider object if you don't we'll open it is an image but you can hit the shift key and you can talk back forward so that will change the image if I want to open is an image or if it is an image and I want to open is an object I had the shift key an...

d it will just tuggle someone open is an object and they should not have had done I should have clicked open that we did it again so here we get good as an object now the beautiful thing about that when it's a royal file if it's a smart object I can double click on that and go back into camera roy and make more adjustments a camera rule is essentially a smart filter so we can use camera roy's this might filter as well so you can literally open ajay paid convert to smile object in go post reports so that a bake going under filter camera or filter so that's also a very powerful one so what we're going to do now is we're going apply our other one that we're going to do though we're going to use that blur and we're back in a blur gallery and we're going to do the field blur not the field lor my mind is melting all right? The blur galley till shift ok, so we're gonna do the tilt shift and now we're going to create as a little till shift effect this time I'm actually gonna rotate this around a little bit and I'm going to go here's I'm looking at these boats kind of cool so we're gonna just kind of take this segment here we want this to be sharp and then we went these areas to pull off if you wonder how this works, I actually explained this in depth and the last one to quote cup to class so um watch that and explain how this works so what I'm doing now is I'm creating this little effect here let me bring this up a little bit more and we can kind of play around with it until we get it exactly how we want it and so what we're trying to do is do this little miniaturization effect I feel like I've got a little too far there and didn't bring its training up a little bit more so one of the things that kind of works with us a lot too is in this case we'll get away if it but you don't want too much of a horizon typically speaking, it works really well when you're looking down without a horizon that will give you the best results for the for this effect something's going to click ok, we're going apply the effect here that's what kind of getting out a little? You kind of see it here a little toy effect and it's really great when you get people in there too because they looked with little toy figures running around so here's the thing that we're going to do this, I'm going to show you the basic way and then I'm going to show you a little thing that people have a keen eye again and notice so what we're going to do is we're gonna mask this out because if you think about it we did supply this filter, but this object is protruding, so this object here, this tower is essentially a lot closer to the camera and that you're in a background, so that should not be blurred the same amount this, in fact should be sharp. So what we can do now is we condone we're gonna paint their sharpness back, so I'm going to select in here can grab my black brush hardage burst, of course stuff there's pressure will look strange on that, and so what we're going to do now is we're just gonna paint it in, and I could actually turn on the size here and the reason being size if I touch this really gently now see how moved again to those little nooks and crannies without changing the birth size that's using precious sensitivity for size as well as for passage. If not, you're just going to be heavy thing is on the left and right back the keys on the key boats and left back it makes it small and the right bracket makes a bigger. So we're just painting these out trying to bring this nice and sharp again. Now the other way you could do it is if I just hide this blur gallery here, I could grab this little tool here that quick selected and grab it, grab the option key and, you know, more let's create a little selection around there, which is pretty good we've got a ref selection and we can turn the filter back on and that will be paint with the black and will actually protect now selection so it's a purse? Oh, I did not mean to do that and the mask there and we can pay to see that. So now I can just get really rough going crazy because it's it is protected, so I'm not going to go over the lines, so those selections are useful for other things than just compositing and cutting things out, and then we're going to go up here and we're going to try and paint this that gets a little weird appear because, you know, we're working a very small thing, so you could essentially, you know, painted out one matter like that, so we're just gonna go because fortunately got sky here, we can get away with it, so we kind of painted that out a little bit now he is a problem that you may notice, and you may not like the people that are really watching on notice when you have a blur area and you're masking out that blur, what happens is when I must get out those pixels underneath a showing that spread object underneath, right? So we've got this halo essentially so if this wasn't blurred, see that that wouldn't be showing there and see how now it is showing there so what we've got to do is essentially we have the mosque that alp with an area that doesn't have those, but we want to blur the area and that's where it's confusing, right? We want to blur that area, but we don't want expanded edges, so how do we do that? So I'll show you how we do that we're going to just duplicate this right now, and it is really quite quite simple I'm just turning this often will hide that, so essentially what we're going to do is we're just going to go in here, create a little selection around there and this you don't have to use this on everything, by the way, just on certain areas that people are really going to look at, but this is how you going to get around that you're just going to make this more? We just make a quick selection around here, and I'm not even worried about the top is that top part didn't didn't have that halo effect, right? So haley effect was only in there, so what essentially you khun do is I'm going to throw it away this mosque, because what I'm about to do work on a smart object, um, so you know, restaurants, a layer so now we've got the layer asteroids were made that selection, what I'm going to do is I'm just going to fill this with content away of phil and get rid of that. So why did I do that? The reason I did that is because now I probably should expand a little bit, but this gives you some idea now, aiken blur this and it's not going to have that edge anymore because the edges now gone with hidden adage, so he is one of the cool things I can do is I can grab my smart feel, so let me right click convert to smart object, and now we're going to go down here and we're going to apply out, blur down here so way, just go there and what did I do there? I copied that blur and how did I copy that blur? I just option dragged and if we open this up, you'll see under here that was able to duplicate that smart filter, right? Just by option dragging or out dragging, so I've got there with the same city is what I want to do, though, is I don't want it must out, so I'm just going to get rid of that mask, I'm just going to reset it by just filling it with white. And see what it essentially I've done now as I've taken at area now and are blurred it and has created a nice clean campus when we to grab my layer on top now and when I turned that smart filter back on we essentially I'm going to go in here now and we're gonna paint out these areas around the edge with a mosque so what is going to do now is I'm essentially gonna put a mosque up here not there and you put a mosque on the layer of flame not losing you and now I can get around those edges now and I can paint away that halo because what I'm doing is I'm taking this is the underside this is the one on top I can't do it to the filter because that filters blurring that image, but I need the object so it's a little a few steps so you know probably a good reason to buy the classy taken much that but this is super super super useful, so I'm going to just zoom in on this puppy here and now I'm gonna paint with black I'm gonna grab my black brush and you know if I was really smart which I'm not smart is the filters what I would have done is I would have saved this election and I could go back and use that same selection again I probably could but I like painting it out because what's this look at this now I'm going up to the ages, and I'm just painting away these hail us, some essentially getting rid of those weirdness around the edges there and getting a really, really nice, clean blur just what we called elbow grease. There we go, so no painting it away and look at these artifacts, we just paint them away goodbye out of fakes like that. I love filters, smart filters might objects and masks nondestructive is the way to get this ugly artifacts just painting them away like they didn't exist. Okay, so I remember I didn't go all the way up here in my stead out, so we would get halos around there that had we gone down here, we could paint them out there and do that if we wanted to take the time, which we don't, but there we go, so essentially you can see what we're doing now by using their smart objects were able to get the super super clean sharpening now without that double halo effect that you get when you try to much scout a blur. So it was a few steps, but I think you'll find that the results are well worth it, so any questions on this before I leave this because I'm about to do something very different, and I just want to make sure if anyone stuck. Yeah, we have one question. It starts off with one. I love your accent. Teo teo, the question when you're working with smart fielders too, you flatten image before you send it off, or does it not affect the size of the file that much? It doesn't pertain to the so the question is, when we've finished working with the spot filters and we want to print it or whatever do we plan is that, you know, there's, no reason to flight in it. Um, in fact, it's better to keep it like this because it's, you could go back change things, so if you print it near like, well, that blur looks awesome bit it's a little, much printed or I sharpen this, but I didn't sharpen it enough. You can go back and change things so there's no harm to keep them in the spot objects, which which I would always do on also the other thing I noticed, too is when you have images. I do this a lot. I work on an image, and just recently I went back and when I was actually preparing for this class and I found some images that I've done five or ten years ago. And I was actually able to jump in there because they keep everything in layers of mosques and I was actually able to go in there and improve those images I'm not using them for the works up, probably why it took me so long to prepare because I find a photo and I get completely distracted and I start working on all that's, right? We're supposed to be prepared and so that's a good thing is, you know, tools will get better and photoshopped your I will get better and photo self and literally like you do now you go back in five years will make it better so there's nothing worse than having it flattened and you don't have that flexibility anymore, it's like, oh no, I think this one I don't want to share this, I can't do this shit is just one more till ship one I just was having fun with this. This is the flatiron building in new york, and I'm doing this mark, I'm on the smoke thing right now. Everything I do right now has smoke on it just say, you know and and, you know, a couple of months I probably won't you smoke anymore, but right now I'm I'm digging, so we're going to do a little blur effect to add a little bit of different feel to this so this is not perfect by the way you know, I'm going to show you some of the things I did like I climbed here in a super rough, but it doesn't matter because a lot of the time when you're doing an image, what you want to do is if you actually want to be efficient and you want to get paid um I I'm a perfectionist and I want to make everything perfect so for example when I did this guitar I'm just going take a little sidetracked is I actually think this will be useful um we're going to hear so I did this guitar right his tons and tons of layers on this this is one I built one hundred percent of push up and waiting for tow open this is actually kind of funny because I don't know that I've ever actually deconstructed this image like before so that's kind of kind of cold so I'm not going to deconstruct the whole thing but as you see me zoom in here there's a lot of detail here, right? You know, I even did the textures on the strengths um, you know, down here you know, I did the reflections even though when minbari consider reflecting in the paint and all of this is all one hundred percent of photo shop there's no photos three d no illustrator nothing this is just millions of layers, right? Um, you know, and second, turn these layers on enough. I don't even know which ones I'm turning out enough, but my whole point and all of this is, you know, I got so carried away. Let me zoom this it's one hundred percent you can probably see it and hear I literally went and created textures inside objects you can't even see. So, like behind here, I literally build this like I was building a scale model and, you know, it was great, but the thing is, is literally I don't know exactly, but I have hundreds of hours of work in this it's, not something I sat down and banged out in afternoon, you know, literally hundreds of hours of work in there. That's great if you're working on a personal project, if you want to get paid, you can't make a very good living in list you're willing to work for fifteen cents an hour, right? So when it comes to the image, what you want to do is you want to apply the detail where it matters. You want to put the detail in the areas of the photograph that people are going to see, and this is very, very common you see, in hollywood all the time, they call it selling the image right says called selling the image you want to sell the image to the audience, which means you put extra effort into the areas that people are going to notice and you don't put so much effort into the areas of people are not going to see this pope perfectionism and it's called unprofitable if you if you're working for a living so, you know, I just bang this part out really fast and without worrying about getting a perfect it doesn't matter because I'm going to blur it anyway it's good enough to sell the audience because what's the audience looking at they're looking at the front of the building that's the part that I really want to pay attention to, so that was a little off track, but I you know, I think it's useful s o I'm gonna right click here and I'm going to compare this to a smart object. So what I'm going to do now is I'm going to apply a blur and I wanted, you know, put a little different field into this thing, so we're going to do the blur calorie once again and under a blur gallery. We're going to grab our till shift and I'm just going to rotate this around it's kind of funny because you got to go here to rotate, which is funny because if you move here it doesn't and it is and the reason I think it's funny because normally find gonna rotate something I'm never going to grab it by the access point because it's the way you know, like crazy like a wheel, right? You want to grab it from the edges and so that's my feature recordist I wish that I could rotate it from the ages feels more natural because here it just gets crazy anyway, so I'm just going to rotate this around to see how it's hard to get exact so you hold the ship fee and that will constrain it. And so what I'm going to do now notice in the edges there where I want to grab it, grab it on the edges there and what rotate I'll just pull in and out, so we're gonna let this fall off a little bit and see how well that stuff doesn't matter now I could have spent hours cleaning that perfectly and it's all blurred anyway, so they're wasted time on stuff that doesn't matter. So what I've done essentially here, if you look at this now, you can see what I'm doing is I'm taking the front and I'm applying this blur and it looks good on the sides here, so these are blurring off into the distance, but the problem is if we look at this building here on this side here, this is also blurry and it shouldn't be blurry because there's a difference between distance, sideways and distance in depth, so if you want your image to have depth to it, everything that is the same distance or you should be the same sharpness and everything that goes back should be blurry. So that means that this part he has should be sharp on the front of this, and it should drop off a little bit down here, so we're going to do that right now. We're just going to click, ok? We're gonna play a filter and we're going to do is just go in here and we could just grab a black brush and we could just paint that back says a beautiful thing again about using this smart filter if you were working, you know, with layers you'd have to duplicate the layer. Creighton blurred blair, and it must get out that here we've got the whole thing and I can just go in here just painted out, and what I'm doing here is I'm going hard on the edge and let me zoom in a little bit so you can see what I'm doing well, not that much, and you see what I'm doing here is what's close, I'm printing on painting a real sharp, pressing hard. And then I'm going gentler off on the edges here, and what it's doing is it's now fading that out, making this smoke should be a little more. You know, I got a little carried away with that, but what I've done now that see how that different field is now looking so much more realistic, and it doesn't look like I just apply to filter to it. So, you know, one of the great things about using filters is to not make it look like you apply filters. You want it to look like it was done in camera. So, you know, even though this is a very kind of surreal stylistic cinematic kind of a peace, you do want to make it look a little dramatic. But I'm still believable, so once again, so easy, just create that spiteful to get on that mosque, and they just paint the mask on that filter.

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