New Features of Adobe® Photoshop® Creative Cloud®
So photo, shop, see? See how many of you have further shops sisi, c c for creative cloud we're all sitting there waiting for c s seven and in season seven became photo shops sisi so the big change in cc versus photos up cs or any creative suite is incremental updates, which means that it could be every quarter it could be whenever we don't know suddenly new features appearing your desktop, you don't wait every eighteen months to every two years, but because of that, as you remember when photo shop see it's five or six came out, you would get all these features and it would be okay here it'll is at once, and then you would learn it, but now you get updates and the question is, what is on there? What is not on this photo shop is constantly updating, so what we're going to be discussing today is new features that have come in photo shops sisi from when it first became cc all the way up till now so they might be features that you're not even aware of them might even be updates that you're ...
not even aware of that happened so here's the thing your software is constantly updating is your workflow updating. And so that's what we're also going to look at as as your suffer up that you need to think about updating your workflow because the way we've done things in the past and not necessarily the way we're going to do things now there's more efficient ways of doing things so we're going to just kind of dive in we're gonna look at some of the features are going to be very new they've just recently come out and in some of the features have actually been there for a while some of them you will be ok yeah, I know about that one and in other ones you may not, but as well as introducing the features I'm going to show you is much as I can in the time that we have the next hour and a half we're going to look at different ways we can apply them in a practical way so it's not just ok here's a tool because I'm I like tools I mean I love adobe software it's my favorite software in the world I'm sure you guys too that's why you hear um but the other thing is, you know, as an artist you need to know how to use your brushes it's not enough to have the greatest brushes or the best paints if you don't know how to use them, so here we are digitally we have great software so that's dive in and have a look and see how we can apply these new features to our work and integrate them is part of our work flow because that's that's really what matters so I'm going to actually start off with one of the newer ones and actually I just mentioned to you too I'm gonna be using bridges well s o we're going to be kind of bouncing baby source I'm just going to use bridge to locate our files and stuff like that and I probably think this is worth bringing up to is a lot of my many more flood that I do a lot of what I'm going to be using bridge for a lot of time I use light room for us well, so oh, I usually have all my photographs in light room and and I kind of bring them into photos up just to make you aware, but I'm not going to be launching like room today because I want to stick their photo shop sir let's start with a feature here, which was really the first big cc feature. So how often have you taken a photograph? And then you look in the back on that little viewfinder, your sensor and it looks great it's beautiful it's sharp and then you get back to photo shop and then all of a sudden it's like this is that ever happened to anyone or is it just me and I don't know this thing is out and you know, I shot this actually quite a long time ago when I really didn't know much about lighting is you can tell because the lights too low on your face and everything and it wasn't enough light was actually using constant light and my shutter speed wasn't fast enough and because of that I got camera shake so the feature that adobe put in here is the shake reduction so if we go under the filter and we go into the sharpen, we've got to shake reduction filter so when we pop this open, what happens is that actually looks at it automatically will start in the middle of the photograph and will analyze the photo and it will be looking for any camera shake and it'll be reducing is basically looking for two things it's looking for the direction of the camera shake and it's also looking for the diameter of the camera shake so that basically means you've got movement so wants to know what direction to the camera moving, how far did it move? And by estimating that photoshopped is able to reduce it somewhat stable okay, we're gonna grab a little magnifying glass and zoom in and we can see that automatically it's done a pretty good job, so we have a look at this before and then after photo shops done that without me having to do anything so you know and realism and if I was doing a poster or billboard I would use this photograph however you know for smaller things that you want to output the web and stuff like that it can actually look really good in people wouldn't know also there's other times too when you get a photograph it might be a one off photograph you're never going to get the opportunity maybe you took a photograph of a celebrity is they're going by and that's the photograph you've got to use and it's blurry so you can use this to get rid of it well let's have a look at other things we can do with this the other thing we can do is we can actually define our own shapes so we can define a separate region here so I'm putting this region over the eye right now and you'll notice that this too you can see them here he is the blur estimation regions and when it says blur estimation this is the little tool here there does it this is where you set the direction and the distance of a blur so you can kind of look for an edge and you can kind of if you see an image that you can see the direction like maybe here you can see the direction and the amount it's moving so what I'm going to do though is I'm not going to go into that I'm going to show you another thing that's quite interesting is if he could hold down the control key and every command on mac and you click this option pops up and this is one of the newer additions that was put in and one of the more recent creative cloud updates they put this feature into the shaker deb and so we can actually have a look at it close up here we could look at different regions we can move around the photograph and maybe we're going to go and have a look at the guy and if you look at what it will do is actually quite severe here you can see it looks very crazy that's without doing anything so what we're going to do is a suppression is artifact suppression so that gets rid of the crunchiness and then we also have smooth ning so this moving will try to smooth and down the surface is so we can actually play around until we find a better setting and him once we've chosen a sitting that we like we can compare it with this one and the one we like we just clicked the check mark and I will apply that automatically to the photograph so that's just how you would do that only between the preview back on so you can actually see what's happening and so that's shake reduction there's another thing is a very, um not really what you would expect to you shake reduction for but I discovered this which I thought was quite interesting is here's a photograph here that I shot with my I shot this with a gopro hero three black edition and it was on my quantum, my quantum, my phantom quadcopter so heavily little quadcopter they'll be bringing in tomorrow, and I'll talk about that a little bit and my class on outdoor photography adjustments. So he is actually a still frame from the video, so I was shooting this at hd quality. And this pelican just happened to fly underneath my quad copter service there at the beach was actually filming surface and I was bringing it back in and was about to land and and I saw this pelican coming right at me, and I'm like, ok, this is it, this is a shot of a lifetime, so all I did is I just slowly rotated it so it would be a good angle and in the sketches sword underneath. And so I got about fifteen frames where the pelican was in there and this was the best frame, so just pulling this from a still image, one of the things you notice, sometimes it gets a little bit soft and it could get a little bit crunchy when you were pulling a still frame from the video so I noticed that if I apply the shake reduction in here and it's under the sharpened once again I can actually play around with this and if you notice there that actually will work really well and getting rid of the artifacts and and if you want you could actually go into the effects oppression under here and citrus sittings and actually clean up some of the grittiness from the video and just shopping a little bit so it looks a little bit better as a as a still frame so that's just kind of like a bonus use for that particular tool that I kind of discovered by accident well sort of by accident. All right, so let's have a look at some some other things here um you know the big thing that we have is camera roy as a filter so as you probably know you were able to open camera roll files before inside of photo shop you would go in bridge and you would right click and say, you know open in camera roars you could open j pigs you could open tiffs and you could open raw files obviously one of the things that's been added you can out open p and g's but the other thing is that it used to be you could on ly open from bridge if it was if it was not a row file you would have do you basically couldn't open is a tip from photo shop and then go to camera roll you'd have to get back to bridge into it but now you can open even a layer from inside photo shop which is really useful ah because let me just open this one here in a double click and this is I'm just gonna happen right and camera roll right now but one of the great things about that is we can work on layer documents and we can use the tools because the tolls inside of camera roar are just I love the adjustment tools and photo shop and they definitely have the place and we're going to be covering these throughout the week and some of my different costs and other structures will too but this certain tools in camera rode it just more modern and more powerful oh and easier to work with you know for example for example you know, temperature look at this this is just so easy to change the white ballots or we could go you know, and choose a different white balance here compared to using things like variations or tell a balance that money be used kala balance and photoshopped or even doing color correction with curves which thursday morning believe it and I'm actually going to show you how to do that we're gonna have a a curves class, but that's a lot more involved than just pushing a slider. So I love the adjustment tolls inside of camera, roy, and now you can use them with the different images and different layers within an image. So what we're going to do is I'm going to just look at a couple of the basic features here. One of them is the new constanta. If you remember what it used to be called the spot tall and you would just basically just spot with it and you would just create a spot and it would do a circular spot and then they would, you know, that would be it. But now we can do different things with it. Weakened drags. If we click and we drag with this tone now we can actually clone out certain regions. So the great thing about this is it's completely nondestructive and here's. Another thing if I click and then I hold down the shift key and then I took again, it will draw a straight line between the two. So this is a really, really good tool for getting rid of things like power lines and here's the thing, too, if I went over the edge like I did, I could just move it. Because it's completely non destructive completely re editable. So see that little gap there? I just fixed that really quick, so let's, just go in there and I'm just going to just retouch this real quick. That was really messy, but, you know, the cool thing about it is you could be missing and it doesn't really matter because he could just keep hearing over and look at that. So basically that's, what we've done in just a few little strokes there if I turn off the overlay, which is this little button here, the show overlay button second turn that on and off, and if we look at the preview before and after let's before and that's after and I just got rid of those power lines so easily, so there's one of the useful features for that which I was looking for my welcome pan, and I saw it was right, this I'm actually getting skewed over a little bit, taking kind of use this because the I d like my welcome tablet, all right? So let's have a look at another way we can work with this, and so when you go back to bridge here and let's, look at a picture here, I'm going to open up this one, so the other thing we can do with this is if we zoom in a little bit and we have a look at this, it looks pretty good, but there's a little bit of adjustments that we need to make here when she's getting a couple of little spots on here so let's talk about this tool again, using it as a spot tool, so as you know, you would click and then you would pardon me, then you would click again to define the region that you want to sample. So what we can do is we can use the bracket keys to change the size of it. We find a spot and we just clicked once, and it will automatically defined a region that looks very similar, looking for similar texture, and it will clone it out. Now, if you don't like that, you can use the forward slash key, and each time you tap the forward slash key, it will sample a different region so you can go across until you find a region that you like. The other option, of course, is you can click and drag and manually said that region as well. So we have different options there, so I'm just going to just tap really quick and just start getting rid of some of these spots. So you can kind of see how it works, and at this point I should be moving on to something else. But I can't stop because it's like a fun game, just like I want to keep going because it's just that's fun and it's easy, but he is a crazy thing about it is this is completely non destructive. Once again, we can turn off the overlay here and I can show you before and after. So the neat thing about this is if I go too far, I get too heavy handed. I'm not stuck with it. I can go back and I can select any one of these regions and I can just so you know what if I don't like it, I can delete it. Here's another thing if you had the option key, get the little sis a toll here and you can click on each spot and you can remove it and you can see that we can select there that will select the spot we can change this size, the feathering, the capacity. I'll show you a better thing for the a pass it e so let's go up here under the eye here I mean, she doesn't really have wrinkles, but I just want to show you. We can do this because of the angle of the light what it did is it just kind of is hitting there a little bit and it kind of brings us out a little bit more than it should some just get a drag across here and obviously that doesn't look good that looks really weird, so what I'm gonna do is hit the fourth slash key and let it sample a different region there we get it looks much better so what I'm going to do is I'm gonna turn off the overlay and we're gonna look at ok it's not perfect. I mean, I could obviously so like the better a better regional let's do that let's not do it around here knows this guy over here so here's the thing now when you look at this, you're going to say ok that's overdone, you know you've done it to merge. It looks a little plastic, especially if I do that over all of them. Well, that's fine because it's not destructive, I could go to a pair city now and I can just dial back the capacity to exactly where I want. So if you look at that before and after so you know, the idea of wrinkles is we do not remove wrinkles from people. What we do is we like to reduce wrinkles, reduce the appearance but if you take the wrinkles off of your models guess what? They're gonna look like mannequins you're not going to look real you know, even a baby has wrinkles the human is part of what makes us human I've seen stuff you know where the seem lines have gone from the eyes and you know, there's no the noses molded into the face I mean, I've seen magazine covers like that's pretty embarrassing for the poor artist that did it um so anyway that's basically what we can do there working with that I'm going to show you one other thing with this new tool here and what we're going to do is we're gonna pop in here I'm going toe just open this one up in camera rolling and here we are so how many times have you put together an image and then you know, this is right out of the camera's I haven't done anything with the yet, so I just feel like right now I need to do something I'm gonna push the clarity and give a little vibrance and, uh make it just looking a little better then we just play around that for sick we get those we'll cover some highlights much better I can't I can't stand looking at an image that just feels like I need to fix it, so how often have you done that you've shot this beautiful photograph and then you go, you make your adjustments, and, you know, you can see up here in the corner that I could get rid of that using that spot bridge, too, but I'm not going to that's where the, um I had unusual didn't see filter on there, I stacked to neutral density filters together, and I was using a little wide angle lens, which is where that kind of good courtney, which is how I kind of made the water look misty, but then you go in print, and it seems like when you look at the photograph and you get rid of all the spot to get rid of the dust, and it looks fantastic, and then directly, and this is actually a mathematical formula it's I learned this in physics, it's directly proportional to the price of the paper and the ink is how many spots will only appear when it's printed, so you might have noticed that you pointed out it's, like amanda spots. So what would we do? We double click the magnifying glass to get one hundred percent view, and then we grab the space bar and we get down and we started the tub and a man, this takes a lot of get there, doesn't it, wolf, and then we're gonna go across and I'm kind of denied the informational infomercial thing, I could probably scroll around here, but I'm making it difficult, you know, when they do that before and after and suddenly the world's gray and you can't perform a normal function because they want to show you how great their product is, some kind of doing that, but at the same time, what I'm doing is war photographers do is called spotting when you go in there, hon percent view and you're looking for those little spots, okay, so I'm going to his double click the hand tool here, and this will bring it back, tio full view. So he is the miracle product here is we're going to grab a little tool here that were being playing with their little spot removal tool and there's an option cold visualize spots stuff we turn on visualize spots, and then we move this around. We can I look suddenly? There's a spot on what I just click on it since I've got that tall selected wolf has another spot when they click on that with a magical tool no there's one down there, I don't like that let's get rid of that and walla and I'll turn off the overlay here and the visualize spots and boom. Fixed so that just saved me ah whole bunch of time going around and trying to do that. And the other thing, too, is if I had a bunch of photographs that I was working as you probably know it, maybe don't. This is a bonus tip, which is not new feature, but if you select a bunch of photographs, you open them inside of cameroon at the same time they'll shows a film strip down the left hand side, so he is the cool thing usually sense it just does not move and then usually it's it's. Not since the death of my cases lens dust because I shoot at the beach a lot, I'm always getting junk on my lands, so usually that junk is going to be on the same spot, so you could actually select all the photographs and click the synchronized button and synchronize all the spots off all of the modern once so it's it's really useful but that's a bonus tip that's, not a new feature. All right, so let's cancel out of there, it's looking another one another tool that is new and we're going to click on here I'm going to open up this photograph here this is I shot this any parking garage so let's do the thing we really need to do is get rid of color but we're just going to the white balance till and just click on an area that should be white and we select that white balance now the problem of this photograph I like it but there's a lot of distraction going on here look at this we got you know, what's it about really it's about the model in the car headlights hitting her and creating that rim line but you're not really enjoying the room light because you've got all this distraction all the way around you've got overhead lights have got all kinds of stuff and so in previous versions of photos up push up cia six for example you could grab the brush you could stop painting around with the adjustment brush to trying to clean it up you could use the grady until you could apply a vignette now the vignette would be very hard to control because I really wanted to go over there so we're going to use this thing called the oval tall, which is because it's herbal all right um and I was going to say it was invented by dr oval bit that would be too obvious ok, so we're going to see the control key and it would be command on mac and double click and that will make it fit that's actually quite nice to know because if you want to do this and you try to drag it in here you know it's really quite hard to make it fit like that I can hit the space bar of course and I can move it while I'm doing it and you know, there's all kinds of tips like that, but if you do that hold on a combined key double click it will fill same thing if you already put it in the hit command key double click and will feel so that's how you can quickly do that now if we want to shrink it down, which we're going to do right now we're going to shrink it down I fight to regulate that this is going to get a weird if I hold down the shift key, I can shrink it proportionately see that so that's a nothing and I could also hit the space by end well, actually I cannot do this pittsburgh the same time, so I'd have to do that separately so what I'm going to do is I'm going to shrink it down to pretty much the area I want and I'm just going to move it around and go over and model so one of the great things about this is that we can choose to do adjustments here and of course once again this is not destructive we're working on destructively in camera roy rather than have the effect here we could go from the outside or we could go the inside so if we get the inside it's going to brighten up the inside or if we get to the outside, we're going to be adjusting that region, so I want to work on the outside, we're going to go up and we're gonna take the exposure and drop the exposure down, see, so we can start to just kind of give us this little effect and at the same time, you know, we've got all these other adjustments here and actually bring down the clarity a little bit, do a negative clarity, and the reason I'm doing that is because I just want to kind of soften those ages so that's, something you can't do in a vignette, the other thing I might want to do is bring down the situation a little bit because I really want to draw the eye into where are marvelous and then we can go down here. We've got other options, we confed of this so we can decide, you know, hey, let's further this much that notice as we feathered it, it's kind of got a little bit far now it's kind of gone into a model no problem because this is completely re editable, so I hit the shift key and I can change the size of it after the fact. That's, what I really love about this tool is the flexibility and the way you can work on it. The other thing you can do to is if you want, you can also use it in combination with your other brush. So if we wanted to maybe make some little light streaks kind of in this area, we could also do this just using my adjustment brush here and let me take my exposure up a little bit and I could kind of paint around in here if I wanted you can kind of see you can do that. And then if you wanted to get the opposite way, let's, just creating new bush and we're gonna bring the expose it down and maybe I wanted to put some shadows he had left bracket t to shrink it down, and I'm just going to kind of just pull it down there, so I want some shadows where is protecting on her feet? I don't want to go over the mosque there, but let's, go here, start from the bottom, so we're not doing that. Oh, I selected the wrong one that's why I came back this select that one, and then we just kind of do that, so we kind of got the shadow is going up there if you wanted to do that. And I'll turn depends off, so you kind of have this flexibility and of course, once a game when you use these local adjustment tools, when you go back to the overall image, you can still adjust everything together and notice that all of these adjustments will work with the master adjustment so you could go back and do the, you know, muster of the university and maybe clean up the white balance a little bit more. So that's basically using that told us before and after, so let's just cancel out of there. That was kind of fun. I like that a lot. Um, let me look att another one here, and then we're going to jump into a brand new feature in the latest release. It just came out because this is one of the earlier ones, but I really want to cover the early ones as well as the new ones, because once again, you know, these are the new features and cc, so let's have a look at doing this one here, and we're gonna go, and we're going to look at something called the up right now. Some of this is kind of interesting when I show the upright, in fact, why don't I open a bunch of these together inside off camera rolls have selected of tiff files I've selected raw files I've got quite a few there and what I'm gonna do is going to right click and choose open in camera rolling and you know how I mentioned before you could open multiple images and camera wrote once well that's what we've done here and you can see that they're right here inside the filmstrip so what we're going to do is go down I'm going to select this one so let's look at this towards called the upright told the upright toll is very very exciting name I get probably imagine more exciting name for you know such an exciting told than that but that's what it is so we're going to do the manual linds correction now just to make your where we also have profiled lands color correction and we're going to get into some of these later on but just you can do that and I'll get rid of the lands distortions but we're going to get a manual and right now we've got a photograph all I want to do with this photograph right now is just straight in the photograph so as you're probably aware there's a million and one ways of doing anything in photoshopped there's now a million in two ways of straining photographs and I like this one because all I do is I simply go to this little box here and I click it and boom it strains a photograph it somehow has a little spinning hamster inside of photoshopped that knows that this is the right way up, so one of the things you see it doesn't quite fit now so we could go and we could do other things like scale we could scale it up now and just make it fit now, so we don't have to crop it later on so there's one option, all right, let's have a look at the the other options on this. So this actually has four different modes. The first mode is the automatic and the automatic is actually pretty good because what the automatic does is it realizes a little bit of perspective is a good thing because that shows height and distance. And if you look at a building with no perspective it all and actually looks like it's falling on because it looks tough heavies we're used to seeing a little bit of perspective, so this is a little bit most settle there's the straighten option which we just like that, then is the other one which does just the vertical and then is a magic one, which led me there appears we can see the this one here, this is a magic one that does the complete, so if you look at that before and after, I mean that's pretty amazing I don't know about you, but I'm I'm blown away by that is pretty cool so let's do another one because this one is for the naysayers out there because there's always a nice air that says you know what if you want a photograph of something straight on why didn't you just move your feet well that one's easy have you ever been in buckingham palace that they let you in the gate oh no they didn't oh have you shot the white house? Did they let you stand exactly in the middle or could you not fight your way through fifty thousand tourists ok, so obviously you can't always get straight on so then the question is you know, why do you want to do this to your photograph? What is the practical purpose of doing this to a photograph because I did say I was going to give you practical uses for this I mean, it looks cool and everything right? Well, what if you want to make a brush? What if you want to make it three d texture? So right now what we're gonna do is we're gonna grab this one I'm gonna open this image here inside of photo shop and, uh, let's see if it did that if it didn't then it's no big deal we'll go back and do it again here we go it's coming all right, so here's the thing if I was to take a brush and make a brush of that flag at that angle what would happen? It would only work if I'm painting on something that is that the same angle it wouldn't be a reusable brush I could use that once on this particular photograph, maybe about it so let's just jump into creating a custom burst really quick using this so what I'm gonna do is I'm just going to scale up and it was just I just pinched with that with the gesture and I'm going to go across and I'm going to create a selection around this flag now and I want to make a brush so he's a tiptoeing unit command j to copy it to a new layer and so we can just see the burst by itself so he is a thing about just making a selection here and in choosing to find but you don't want to do that and I'll show you why? Because if I go under here and and I just go get it define burst preset and I'll call it a flag flag okay against what's called a flag fled I didn't learn to spell I'm I'm still working to see everything's upside down in new zealand so upside down g looks like a d uh so click ok you you believe that right get a bridge for sale too, yeah all right, so now that I made this let's have a look and just I'm just going to make this is not a good photo shop habits that I'm doing right now but I just want to show you for the sake of illustration I'm just going to create a little bit of white on here so we can work with this brush so I'm going to grab a brush I'm gonna hit the deaky to reset the full garner background college because I want to paint with black and then we're going to go down here and select the breast we just made so this is our u s flag brush that's what it looks like I mean that's cool but you know it's likes contrast in it likes punch because that's one hundred percent so what you want to do a lot of the time and this isn't just a little bit of a side tip here when you're working on a brush is you just want to you could use command l open up levels in this case I'm not going to be doing an adjustment layer because I don't need a non destructiveness all I want to do is increase the contrast of this particular shape and you can see we can do that they're so that's pretty contrast now if I choose it it defined bercy preset and we go down to the fine burst percent we call flag better and now when we select the flag here now that we've added the contrast on there let's compare that and of course it doesn't nothing that we see like the white layer and click oh, you know, why might this election to my selection ofthe dark there we go thank you so there we go so there's a brush and you can see now that we have a lot more contrast in the brush so it's better to have that contrast because you could always pull back the contrast later on def it's lacking contrast I mean, you can add a but it's not so easy. So that's like my little brush tip no pun intended with all right? So let's look at something else that just came out a little bit more recently and this is the perspective war and this is a really cool tool for compositing and just shameless plug the next section I'm going to be doing a tight class on compositing but let's have a look here. I'm gonna open up this and let me just go back to my move toll so we got a car here. I mean, this is a bit rough actually cut this out while I was on the plane and there was a little turbulence but uh and I would cut out these windows and stuff but for the sake of illustrate it doesn't really matter, so if I want to put this car over here and so you know, it kind of sits on the rails, um, the angle looks just odd, it doesn't quite work, it doesn't look very believable. So this is where the new toll that comes in here is the, um, I'm going to go under the perspective warp, and if we choose prospective warp, you've got two options. The first thing you want to do is you want to create a grid, so we're creating, like, a little perspective grid, and then we're going to get to change it, so I'm just going to click and drag over my shape, and I basically defined to shape right there, and if you go up in the top, you see layout and warm, so I'm going to choose the warp option and then with the warp option, what I'm going to do is I'm just going to pull in the top and just slightly change the perspective of this shape, so fits. So what we're doing is we're actually changing the angle of view to make it more believable, let's go out that way a little bit, and of course, we complete the top on the bottom, you can see how you can just basically manipulate their and warp it I mean it's quite settle in this particular one, but if we look at it before and after you can see we kind of made it fit the perspective of the photographs there's a great little compositing toll so I'm going to go off another one no, which will show this better? We have the same car on the street and you can see that this you know, right now it looks really weird because it looks like it's just floating in the air, which basically it is so let's bring it down and we try to put on the road and notice it's not really working too well because the perspective just doesn't look quite right does it? So let's have a look at doing this with the same tool here we're going to get under the bed and we're gonna use perspective war two things first thing we want to do is we want to sit out grid what I'm gonna do is zoom in a little bit so I can see better and I'm just going to go there so we're going to start here and I'm going to drag it up and over, so what I'm doing is I'm looking at the corner as a starting point so we're going toe change this now we're going tio use that for our one perspective and then we're going tio change the different areas here, so I'm going to drag it out ofthe so what we're going to do is just line it up the wheels so you don't even have to really, uh, understand perspective, I mean, understanding perspective is good, but, you know, just try to follow a horizontal line if you don't really understand the rules of vanishing points and all that stuff, just follow so, you know, you know, wheels obviously going to be lined up, so try to find things like that, that vertical and horizontal lines, so I'm going to bring this down to match the perspective of the side there, and once again, just look at the grid here, make sure that just kind of matches something, and then you'll notice that I mean, I'm not going to get in and explain, you know, that as things go further away, they appear smaller, we know we're not talking about that, so we want to sit another grid for this site. So what do we do? We just start to click and drag now notice as we click, you see, this little blue thing, the blue thing is actually quite amazing because what is going to do is it's going to snap there and it's going to automatically join those two planes, so now, before we were working in you know, it was a one point perspective when we were just changing the, uh the angle of it, you know, looking down on it now we're working in two points perspective so what we're going to do is we're gonna set the prospective going this way and we're just going to set that down a little bit and that's looking not too bad you know, what basically created a little cage and I'm going to get back to a little bit there we go and then now that we've done that we could go back to our warp toll and now we have the option to change the actual shape of how a vehicle is so watch this this could get crazy you can get very carried away with it so be careful so we can actually change all of these uh this is a very dangerous tool if you I want to go with it as you see there we can change you know, we could make a local squash e or bouncy like a bouncing castle um let me zoom in a little bit so we can see so if you look at that now and you look at that that's actually matching a lot better than that you know it's not perfect but you could play around with it and get a perfect and you can see what it useful told that is for compositing you know, we can still move it around, so you're still allowed to do that you can still change the scale or the other thing you can do to is come antique and free rotate that if you want tio free transformed, you need to just tweak it a little bit, you can do that and of course, if we wanted to make it look more realistic, I'm just going to do this really quick. I'm gonna have to edit shadow come on, j there would be controlled jail windows and I wantto he is a cool does anybody know how to fill an object with the full gang color while preserving the transparency? Optionally close close so you know, if we do, like if I want to fill this with the four grand color I would do, I would do the option delete bad if you hold down the shift key is, well, it will fill that and protected transparency, so you don't have to make selections when you're doing that. So so if you did a background color, it would be command, shift backspace or delete depending if your windows will make all right. So this one just useful little tip there, so what we're going to do now is I'm just going to come on tv and I'm just gonna right click or whatever I wasn't really clicking whatever that would be called a right like I guess I tapped and then I'm just going to choose the distort and then what we gonna do this drag out a cost shadow so we're just gonna cast a shadow and what angle would we do? What? I don't know I follow the angle of the other car that would kind of make sense wouldn't it? So what we're going to do is just make a little chateau e thing I'm just going to move it around here so this is not really part of the features it's just like an additional thing I just wanted to do just to make it look a little bit more natural stuff we kind of do that and we blur it I'm just going to use a filter blur and we'll get more into this in the composite in class so we do that dropped thea capacity down a little bit and then you know, we're gonna create a mosque and then of course we're just gonna grab a brush and we're just gonna brush out some of those areas not using the u s flag although it is, you know, the olympics were we're great team usa um we can get there and just kind of paint that out little bit and also got weird down there were just shrink that down a paint that out there is he can kind of see that the shadow kind of connected to the ground so it doesn't look so disjointed um that really is one of the main keys in and compositing all right so that's that feature now we're going to look at another new feature the link smart objects so how many I mean you have a euro be much in creative life for a while I'm sure so you will very familiar with smart objects by now because I see them used a lot by people on here because they're great wonderful tool um so adobe decided to give us some options with the smart objects in the last version of father shop so before there was you would just go and you would place everything in it will become a smart object and a smart object is basically a container that contains whatever you put in it you could put in a illustrative foul you could put in a pdf you could put in a photograph an illustration you could put in a bunch of layers you could link them together but the beautiful thing about the smart object is that everything is not destructive and you can apply smart filters you could do all kinds of different things with this might object very very useful tool eso what we have now with the lynx smart object is that's let's go here I'm going to create and this is I really really apologize for this incredibly crude example it's disgusting but you know once again I did this on the plane over and I really need to work on a nice layout but this will illustrate what we're trying to do so what we're going to do is we're going to choose file and then we're going to choose the, um the place in here so I noticed that the file place is missing it's gone it's not there anymore they took it away how dare they know they didn't they didn't place embedded is what we've always done embedded means that it's inside the document so what we're going to do is we're gonna choose place linked, which is a new option and then we're just gonna go here and we're going to navigate through a picture so we're going to go here and I've got this picture I've called a guitar girl that I just that I um extracted earlier on and I'm just gonna place her inside this layout so we're just gonna hit ok? So this is cool. Well, what if we want to leave? You know, that's the reflection so I'm just going to come on a j to copy the layer and I'm going to hit come on tif a free transform and I'm gonna right click and you'll notice yes, I am the king of free transform I love it I use it all the time I love it so we're going to choose the flip vertical so we're gonna flip this and I'm just going to drag it down a little bit and we're going to dio you know, just a quick reflection disc thing this might not be perfect, but I just want to do this we're gonna put a uh just a quick mosque on here and I'm just gonna grab a grade ian and just to make this look a little bit like we're reflecting so there we go let's go this way so it's kind of fading off there we go so we just get a little kind of reflection thinking well that's cool right that's cool redundant than a layup ok, well, I've also got mohr layouts that I did and I'm going to open these other layout it's that I also happened to use the same um links smart object so that's a postcard so how often do we do different types of layout? So you create something and we've got a square lay out because you know what we want to put it on facebook, we want to make a profile picture out of it, you know we've got a card he we might print out a card and put texted the bottom so we've got this and then you know what the reason I put it so smart is because how many people have worked of clients so here's the thing about clients, clients and notorious for changing the mind of you ever worked with a client that did not change their mind? Probably not they always change their mind and it is your fault it's your fault they're like you know what? We did this shit we told you that when you did the shoot you are not listening to us she's got green leanings on and we wanted a green skirt to match the leggings go back into it again and you're like, ok, sure they'll be you know, five dollars worked is that okay? You want to sign off on an extra five hours and modifications and changes? Of course, because you're smart and you get a contract and said that changes will be available and of course you know yes, of course what you're talking about making changes okay, so we did have changes on and I'm not saying that you should be deceitful I'm in the way saying we should be deceitful anyway, so here we go. So here she is this is the links model so here's the thing about an embedded smart object when u m bid something inside of a smarter objectives inside that document and it's documents specific so that means if you want to change that, you go into that document, you change it with a little yes, yes, so each document would have it so links might object. So the question was going to say that question again, thank the master a document, this one, whatever we change, it links to that good, good question. Good question. Are we changing the links the original fall? So, yeah, we're kind of just setting up the magic trick right now we haven't we haven't done it yet, but what we're doing is this is the file here that we open. This is the master file that I placed if you remember a when I chose paid a linked paste linked was a place place, sorry, it slipped me for a second, so when I choose place linked, this is the image that I placed inside of that document, and this is the same one that I placed inside a ll the duck moments, so a linked smart object works differently than what we used to. It works more like an in design, you know, when you're working in designing, you put in logos and things like that. So what we're going to do now is we've got this, we want to change the color of this one thing, so we're just going to go into here, I'm going to do an adjustment layer on going to grab the hugh saturation and we're gonna do it oh how many of you were about to make selections to change that color oh no we don't want to do that so we're going to go down here and I am going for the hugh saturation I'm going toe pop that up so what we're going to do to get it changes from master to anything it doesn't really matter because once we've changed it weaken grab our little tool here and what I'm going to do is I'm going to click somewhere in here and I'm defining that purple region so if you look in here you'll see um let me just zoom in here see this little range thing has being created in here so what it's doing is it's telling us this is the color range that we have selected so you situation normally just works right across the board but in this case we're selecting just that range and now if I change the hugh only only that area that I selected will change so no, I've just decided hey, you know what great we've now made a green cool that was easy and it's an un destructive look at that notice up here here eye shadow change did you see that? Because she was a smart makeup artist and made it good with with the outfit so if you don't want that that's why we have layer musk slam asks wonderful things that come automatically if adjustment layers we can mask out the areas that got changed that we didn't want changed, so just grab a black brush and go back that goes back to help us. So now that we've done this, we've made these changes. I am just going to close us out and it's gonna ask me, do I want to save it? I'm like yes, I do want to save this. Thank you. Look, it changed in here it changed the reflection and also all the other word documents changed said that is the power of working in a link smart object you could have hundreds of documents, you know, I say your corporate designer and then you have the corporate logo and you place that corporal logo in years and years and years of collateral, and then you change the local that's. What we're going to do is change that logo file once and all your files are updated so it's, really cool or, you know, maybe your wedding photographer and you got married and decided to change the last name. Guess what, you could change all your water marks, but he's in the links might object. This is just a wonderful you know, it's, a wonderful told just makes life a little bit more flexible, ok, so here's the other thing about it worth mentioning you can still doubleclick from within any document and it will launch that master so if you decide hey you know what? I don't want that you situation I can save it and just go back and it will go back and settle the documents so you can access it from any document if the file is missing what happens? Do you lose it forever like in design you would get this low resolution representation of shell of what it once wass I know what it will do is we'll actually create a flattened version of that in here so I can't find the link file it will actually substitute something so you still have something inside your image so that's links might objects close all these out so let's jump on to our next feature here is I wonder excited about this one, huh? This one is very exciting video video video video as you know well, maybe you don't know you can work from video photos show if you don't know I have a class like jim was actually with me and we did it one day on video and photo shop so if you want that took it out on the creative live library but what we're going to do here, I know there was a total shameless plug wasn't so what we're gonna do is we're gonna open up some video here now this is actually knew and uh editing videos fun I love editing video it's really cool enough I hit the space bar you can see here that, you know is playing inside of photo shop, which is kind of, you know, a couple of years ago, you never have thought, you know, I'm watching video inside of photo shop seems quite amazing, but it does actually work so here's the thing. So when I was in africa and I saw the zoo, but actually it wasn't this was in central california, so just driving alone just having a beautiful time just christened through central california and a friend of mine said, hey, check out the zebra might what? And here we go we got zebra out there just grazing with cows. Now this speak it's like a little odd so I needed to know why these uber we're here. Well, it turns out william harris, the guy who built his castle uh, head of financial, you know, things were a little tight. No, when things are tight for him, it probably is not the same as those type of guys. You know, we we haven't tight, you know? Ok, let's cut back on stop bart for a week, um, and his case was like, well, you know, I think I might close my zoo so he decided against we got rid of the lions and the elephants and everything else and it decided just, you know, I put the super out to post with the cows and there's still that till today so that tells me there but when you glad they didn't put the lions out so that what being scary so what we're going to do here is we're going to apply a filter to a video which we've been out to do this one tip though when ever applying and filtered to a video always converted to smart object and we're right click here and we're going to choose convert to smart object now the reason we do that is because if we apply the filter a video is nothing more than still frames and this one here is twenty four frames per second you can see down on the bottom there so every second is twenty four images basically, so if you were applied to the filter directly to the video it would change one frame so one twenty fourth of a second it felt it would work. There is the time it wouldn't so we converted to a smart object once again instead the smart object is like a container throws everything inside that container you know like this glass of water, you know? So now I'm not applying to filter to the water I'm applying it to the glass and in everything in sight so if I was to make this applies and green the water would look green if I was to make this glass blew the water would look blue rather than turning colorize the water every drop at a time that makes sense all right, clear water is no don't give me blue whatever another incision all right, so we're gonna choose filter and we're going to go under camera rolling now this if you don't realize like when I got here people just die. Cameron nice thiss is revolutionary we are editing video in camera roar I mean, I don't know if you grasp the significance of that every adjustment in every filter that is available here inside of camera roll for working on photographs is now available for video so I mean, how many of you ever got into a three way color corrector and you start doing the color corrections you know, you moving this little park around the other way around and you know and and it moves like this much of the time but now we can just use their temperature slider we can use the white balance till we can select there zubar here we can work with all the tools here so let's let's look at some of the things we could do let's recover our highlights a little bit this open up as shadows a little bit let's play around the exposures brighten it up let's give it a little clarity look at that. Give a little vibrance and, you know we bring out the color there in the grass we could set the blacks because, you know, cinematic, you want to have, like, dark shadows and a black so people know just like the cinematic look the shadows or was plugged up a little bit it's actually ok to do that, so we're giving it a little bit of body there. We went to select nice and contrast he you know what other tolls working here let's go in there other areas, you know, we could use that oval tool that we were working with, um that will work. You know, all these other tools were working here. Um, well, warp is not actually in camera roar their lands were we could we could do. Yes. Um, so, you know, all these things inside a camera or better answer that question liquefy is another new feature that they put in cc you can liquefy video so that so that was good tio to bring that up now here's a question, why would you want to liquefy video? Never thought about that. I want everything to look a weird and and, you know, maybe you're doing picasso of video but I actually thought about it like yeah, you know he is it is it I'm not going to do this, but since we got on the subject um you can create a texture map in the three d you could actually create a video texture, so if I was doing like maybe a video texture of a pipe or something in a pipe was bent and in the video I wanted to make it look like the video has been actually didn't want actual with wine bottle I had hula dancer is dancing inside the wine bottle is he's a real example? So what? I doesn't use the liquefy and had liquified the video around the neck of the bottle and then it actually made it look like it was actually fitting on side the bottle so that's that's this where maybe would use that so you can see, you know we've got all these different options that we can we can play around with here um so we can apply you know, we've got a graduated filter let's get out of that one let's go over here let's grab our vignette, maybe we'll play a little vignette on there and you can see that all these adjustments could be done right there and we just click ok and so if we look at this before and after and we hit the play button you know it's gonna take a second for to load up it's just letting a pinto ran but I could encode this out right now it would work perfectly but look at the quality of that video adjustment and that's what out having to go into speed grade and or you know, color or you know I mean obviously a videographer is going to spend a lot of time finessing the color grading but what about a photographer is a photographer gonna necessarily know how to do that? Um you know, even then look at the quality of this is grating, you know? So there's a video is playing back now, you know? So I even find I working premiere and after fixes well, but now I'm finding I couldn't do my video and camera raw, I actually will go and I will open up my video and here and I'll do some of my initial adjustments and here now and him is how you would get it out, you just choose the file export and we're going to choose the brand of video now there's two options in here there's a delivery and in his re use so delivery would be when you're ready to share it with the world you want to show it on your ipad, you want to share it on youtube video put on your website whatever you know your mobile device, you're going to choose a tsh to six four, which is the industry standard. A lot of people say h dot two, six, four, but I'm too lazy, sir, just eighty six for everyone knows what I mean, and you've got all these process so you can put him on android phones, hd apple tv, ipad, iphone, vimeo, youtube, all these things and you just lose choose a preset and in click ok and render and photos that will do it for you. You don't have to understand aspect ratio, pixel aspect ratio any of that it will let a box horrible size that will do it for you. However, if you wantto work later on and you want to work in premier pro or his one is probably quite surprising for you. If I wanna work with this video and edit this video in photo shop, I will have an external drive of lots of space, and what I'm going to do is I'm going to choose quick time and under quick time, we have animation, high quality. This is a lossless format, so if you're familiar with image ing terminology, you're not familiar with video animation is similar to a tiff or psd it's, a lost list for mint and supports alpher channels, so if you want transparency you get it there um everything else if you do eighty six floors like ajay pig you can't be transparency you can't do those things it's a loss for mitt but it plays well on devices because it compresses a very small quick time animation a huge files like we're talking gigabyte files the massive but if you applied a lot of filters to your video and you know what you saw there you know we had to really white quite a bit for that to to play with the camera or because it's applying that camera roll filter twenty four times every second of video it's applying it so they can get quite hitting quite sluggish so you might want to export it out and in that way it will bake that sitting in there then you can bring it back in and bring all your clips and later and assemble them and do your edit so that's that's just another little tip that you could do with that so I'm just gonna hit the cancel their another option to bear in mind too is you can change the resolution and this is ah this is also a new feature they got popped in here very unceremoniously it just appeared one day when adobe did an update and we can change the resolution so if we want to drop it down to say twenty five percent when you play a video it doesn't you know it's still going a little slow but it's going a lot faster than it was it looks grainy and crunchy because it's playing at twenty five percent quality but notice that it's able to play it back faster so that's another thing so if you're working with big footage maybe you're working with four k which is really with this would come in use you can't play for k at a hunt perceive you and lisa got really good hardware you know I'm gonna laptop right now so I would drop the quality down to maybe twenty five or fifty percent and then they complain back real time so that's the video section there all right so leaving right along let's talk about time lapse everybody loves time lapse I'm going to do ah section later on where I'll actually get in and talk a little bit more about time lapse and one of my other classes tomorrow so I'm not going to get really explain you know how to do a time I've sort of thing like that right now so I don't want to just be repeating myself so what we're going to do is we're gonna open a time lapse because I want to show you something that's new so we're just going to choose file open and we have a timelapse sequence on here which is about three hundred photographs that I shot in times square in new york so it's really hard to make a time lapse you know, because you've got three hundred photographs you can imagine you know, get this image secrets we could bring it we got image it together and, you know, three hundred photographs I mean that's a lot of word for photos up to do right sits it's quite tough so we're going to select it now we're going to choose image secrets and now we start the long, long process the click open we get to choose a frame, right? So I'm going to choose twenty four frames per second and click ok and then oh it's done just like that and I hit the space bar and it's actually that quick it's taken all those j picks to get them put them into a timelapse sequence. So what you're looking at here is a video that photo shop just made out of three hundred photograph so that was shot once again times square and a also ahead a little button here which we can choose lou playback so when it gets to the end now it will stop playing again and we'll just keep looping so you can loop it or you can stop it cool thing about this is something I'm about to show you right? No um it's just little loop and I'm going to stop it okay, so here's something that's new and you could have actually done this in photo shop cia six what I've done so far but this is where it gets new is if we right, click here we can apply some filters. What do we need to do smiling object jim wins the praise jim wins the lollypop. We'll have to find a lot of public, so convert to smart object. So whenever you apply a filter to video, convert to smarter if you don't remember anything else, just remember that and then now we're going to apply a filter, which I am so excited. This was actually one of the when sisi was the current shipping version of photo shop, one of the first updates they put this in, so this is beat him for a little while, not since the beginning, but it's been in for a little while, and this is what we can now use this wonderful blur gallery you familiar with the blue gallery? Nondestructive blurs can now be applied to video so exciting so I'm going to choose the till shift and I want to do a little very popular effective seen it on a million open news for tv shows, it seems like it's on all of them now when they do the tilt shift time lapse very popular, so it simulates a till shift land so I could move this around and I'm going to grab the crowd here and I can change them at a blur, aiken decrease it or I can increase it. So because ridiculously crazy, which we're not going to do that, we're good about there, we can play around the sittings here, you know how fast we want it to fall off slow a quick we can open or close this slice of focus so we can have that region of focus larger, small so I'm going to sit out here for about their notice that the other side we consider independently see that and then I think it was the no I'm not even gonna say what I was going to say let's, just go with that. So I'm going to sit that we could also change the angle. If I go over there, I can click and drag and change the angle of it, so you have all these options, so I'm just going to pull it down here and here's a tip, you know, when you've got the angle thing it's like whoa it's kind of like trying to slice flight simulator, so if you hold down the shift key once again, that was one of the little things here, it changes it in increments so we can do that, and that will enable us to get it nice and horizontal again so you've got other options you could change the blur over here could change them out of distortion, which is just kind of gives it lands the stores and if you look at the bottom there it kind of simulates the blades on the aperture you know, when the camera has like little blades to go over there so you can kind of change those by changing that we continue on some metrical, which is if we want to make it work both ways for the distortion if you look at it before and after see that how makes it look the same a top to bottom there we go see that that's kind of cool so we intend it off and now if we just click ok, we're gonna apply it and well I'm gonna hit the space bar just going to take a while for this teo load up possession or going to that you can see now we've applied this till shift effect to our time lapse so just works really nice and I'm just going to let it go for a few seconds and later because I like to play do you have a question? Maybe while I'm living this load into brand right now you know we sure do okay, so this is regarding this is from jason wanted to know is the editing the video color only in cc because they have c s five oh, says five. You won the prize. You definitely need to go and upgrade cia. Six would do it. But you missed out by one vision in cia six adobe completely rewrote the video engine and most of these video features, with the exception of being able to play the liquefy, the blur gallery and the camera raw. Those are only in cc, which is you know what I've been showing, but all the other. And you can apply adjustment layers you, khun, do the filters. You can do all that stuff inside of photo shop. Cia's six. Now see us five it's possible that maybe you khun do some of this, but I never used video photo shop before cia six I'll just full disclosure there because it it sucked. Cia six it got good. So that's when I started using it. So before then it was all premier pro uh, that I was using a human. You have another question? While this is still a radio show. Radio, I'm keith, they just asked that said that they missed the opening time lapse. Is there any way you could just show how that happened? Touch on that one more time, um yeah could I mean although I will be talking with rebroadcast way doing that's mean because you know, imagine sitting there you know for like ten hours and rebroadcast wait for that one minute and I happened to get a cup of coffee while ahead tonight that would just be a pro. Okay? It's always loaded up I will show I will share hard did that but I also took a little bit more in the outdoor photography section about shooting your time labs and camera settings and stuff like that as well. Okay, so here we go it's getting ready and low now is gonna play how did I know this is like that magic trick? I have a little foot switch here that makes it play first know what it is? See that little green bar there that little green bar tells you that it's all loaded up into ram so now is playing from ram and look that's not cool beside the people are just all ice skating ice skating in in new york and times square so that's using the till shift effect now just religion or two is actually kind of cool because even the billboards looked like videos going in them. So the cool thing about this is that waiting to preview it like we did you don't have to do that if you just chose to render to render it out his video you don't have to preview it and wait for it to load into ran you can just render it out and it will play in real time ok so let's talk ten about loading it and it's basically three steps I was gonna choose done saying we're gonna choose file open then I'm gonna click on the first one now and choose image secrets no photoshopped knows that this is an image sequence how does it know anyone want to guess how it noses in image sequence but what if there's other photos how doesn't know is part of the image secrets or not because only selected one photo notice I did not select all the photos time place soothe the father and the time planes like ok this is how it knows I will tell you how it as I would give away the secret so it's not the time stamp what it is this the file name it seized all of these have the same farming but increments by one now here's the thing do not slater the photos because if you select all the photos and then you click image secrets and you click open it's gonna open three hundred very new documents inside of photo shop so you basically get up one huh I'd start you compete because it's going to go why it's like you know going on one of those websites where they get spyware on there just takes up so so it does that now the reason I'm going to tell you this because he is another tip this is just completely random tip what if you have a whole bunch of photographs that you want to apply a particular effect was serious of filters to complete leader from photographs I mean yes you could use actions but you know what? I'm just gonna be bold and say you know what sometimes actions to slow if you're running a lot of filters if you're running like a lens blue filter on a whole bunch of questions that's going to take for ever because it takes a long time especially in high quality so what I do sometimes just a cheetah's I'll take the photographs that I want a batch process I will go into bridge renamed and battery name given incremental numbers that can automatically do that for you open inside of photos up a plight as a smart object apply it as a filter and in exported out intimate secrets and guess what you just got to about action so anyway so that's what you basically do is you selected your turn on image secrets and then you click open and now you just choose a frame right now you know video typically is twenty four thirty frames per second twenty four frames per second a cinematic what you see in the movies thirty first per second is video what you're used to now the reason I choose twenty fourth prince was second is because I want to get the most out of my time lapses because it takes about evidence shoot the so I could squeeze a little extra out by twenty four frames a second, I can get a little more and that's all it is so two exporter down just to show you to complete that thought when I choose we're in the video, you can go under here and, uh, instead of doing it photoshopped image sequence and so I could take each frame out as an image so that's the last if and doing that little cheat action thing, which is really as a bonus tip because it's got nothing to do with this class. I'm going to show you something that I love doing. This is fun, we're going to open up, I'm going to go back to bridge here and I'm going to open up one of these images off a building, and I'm going to put a couple of these different things to get us so let's do the upright crop and there's a building I want to open, so I'm gonna double click and I'm going to open this building. Let me just close down my timeline because I just want to get it out of the wife and now so I'm just gonna choose clothes just give myself a little bit more space to work with, okay, so I could use the upright correction, right? So what happens if the upright doesn't get what you want? Can you manually override this? Yes, you can, and he is one of the ways you can do is I'm going to use the perspective crop it's kind of like a trick question because they can, you know, I mean, the odds is usually always yet I suppose you can otherwise you wouldn't have voted up, so I'm just going to make a little selection here, and what we're going to do is we're gonna click here and I'm going to define the straight line, says it's kind of like a little bit like working in that perspective, wolf in that aspect, so I'm just going around here and I'm just defining the ages so you can see here that I just look for the straight lines and, uh so this is kind of being in hunts that corrupt tool is actually and they gonna siri's of enhancements inside the see see one of them, is this the whole new look and feel and in just little incremental is, I think, there's bean two different updates to the crop talk just say to make you aware case have to find their region now I just had the key and boom so have cropped this image nice a straight so this is what we're going to take it a little bit further we're gonna go we're about to go down the rabbit hole and kansas is about to get by by welcome to the world of us so we're going to choose mish preset we're gonna choose cube orb and I'm just gonna click yes and what has happened here? What has happened is I'm now going to go here we're in three d we've just made a three d model out of this right now looking at the top few I want to switch these I'm just going to choose here and it will switch the different views why would I do that? Because I want to shrink this down a little bit so we're gonna change the scaling that way and I'm going to change the scaling this way knows this is it's all on screen stuff go back to the regular picture. So the cool thing about this is now we took that photograph if you remember and we turn into three d object just out of that photo so we made a building all right, so another feature that was added inside of photo shop and a great my brush till when I grabbed my brush told and I'm going to go to my properties under properties when I decide to paint I can paint in different properties what a property's properties that things think of a dog a dog is an animal a dog's properties of for noses you know what one knows hopefully legs you know, those of the properties so we the properties of this are diffused bump speculate but I'm not going to get into all of them but what we're gonna do is we're gonna grab a pass it e and this toll now the paint on adjustment toe inside of photo shops sisi has been sped up the claim is up to two hundred times faster than it was before uh that's actually quite usable to me so if I click I'm going to get this thing this is well blah blah blah and I'd never read dialog boxes are gonna click ok, so what it's actually doing right now is it is creating a document in this document is going to be another image which is going to be used for a texture map also known as a uv map for people that are doing three d so I'm just going to zoom in I'm just using that option drag thing with my finger grabbed the brush and I'm just gonna paint with black inside these windows really quick so this is not perfect I mean, I would open up the texture document if I wanted to make this perfect but I just want to demonstrate something to you right now so I'm just painting noticed how fast this is well, you say, well, what's the big deal you're just painting, right? It was a big deal so what? Well, no, dude, we are painting in three dimensional space I've just put transparency and all these windows so that's pretty cool a swede say california that's gnarly did all right, so the other thing is we can go into the layers panel and let's have a look and see what we did here, so we've got these different properties will go diffuse, we're gonna passages to his ariza pass it e so I want to double click on my patsy and I could open it up now if I had time, um, I would take this I would copy this over and I would laboriously trace out those I clowns and I would get it absolutely perfect, which is easy enough to do. But what I want to show you two is I'm going to create a new layer, so I'm just going to do dole this down a little bit, but I want to work not destructively so what? I'm going to create a new layer, fill it with white which is come on back spaces you saw this big thing on the screen and you drop the upper city down this is how I just not destructively turn that down a little bit the grays and I'm just going to close it out here and yes, I want to save it yes ok great and now notice I've got to see me transparent windows and the way to really see those is when I stop dragging because notice it just kind of drags very quickly let me show you think you can render you can also render in a region which is nice if I held down everything in our it will start rendering so when you're working in three d it looks kind of not very good until you render it and when you render it it actually builds in the rays resolution in there so you can see now we're rendering it out with similar transparency how could I do that that's because just like mosques or anything else these properties black is on white is off and anything gray between is a different level of transparency. So that's kind of working with those three d things not fun all right, so I'm now going to leave the world of three d we're going to get back to kansas um and we are going to I'm not saying kansas is flight but it just kind of flight, isn't it it's not a lot of mountains and stuff there correct home you're from cases wizard of oz it was home yes yes so let's have a look at another thing of good he's wonderful things I want to show and you know what? I'm going to show you really quickly here is the this one it's to make because I know there's a lot of portrait waiting for target this is a watch creative life so what I'm going to do is I am going to open up this image right here and I'm going to show you how to make everything look magical and dreamy because everybody loves a magical wedding. Um so what we've got here is I want to make it you know, it's just this is nice it's a happy day in this terrible light which you know is one of the things you get a deal without the winnings, right? Eso what I want to do is I want to make this look dreamy and magical, so I'm going to choose a select and I say this elected I'll grab the coloring now traditionally color range is always worked on colors and tones and you know, I reset this and get back to the normal settings here so a new option it was dropped and not this last bill but the build before that which was late last year around september I think it was was no, this is not new york. Well, what I mean is, don't you highlights and shadows world was there? Yes, they were, but we didn't have sliders basically photoshopped decided what was a highlight and what was a shadow. Now we have the option, we can change the range, and we can choose there is we want to be highlights, and we can choose the fuzziness, which will soften those ages will make it very, very sharp into find works, you know, just like the color range tool. But now it's selecting the highlights if I click ok? And I've selected all these highlights, and I want to make this dreamy. I just had come on a j and what I've done is I've just copied my selection, which is all the highlight areas, so we're gonna play a dreamy glove fell to blur, and I'm going to use the gals. Ian blair goes in blur and look at that streaming is magical just like that, so I'm dreamy, dreamy, I say, try it, but one or two of those in your album guaranteed the bride will love it should be like, I don't know, he just looks in love with me in this photo note you away, so you know, that's just like a really quick little tip! And I'm going to do one more with the color range, so let's, jump in here and I'm going to show you this one. I'm going to open up both these images indra threat that so remember, did the garage so here's the thing about the garage? She this was another one from there. This was not inside a studio, even though it looks like it. But what happens when you open the doors of a car and then you take a flash and you put it on like a nice beauty dish any and you blow that thing at her full power with a white wall behind it? What happens? You get a white well said this wall is like eliminating the fleischman off, so all the detail, everything outside is gone, nothing there. So what we're going to do is we're going to choose the same option. We're going to choose the select and we're going to go to the color range, we're going to grab a little white toll um, select highlights see that highlights set the range I'm gonna sit the range to about there, a little fuzziness, make it soft, but not too soft about they're looking good, so made insulation I'm going to click ok said no, we've made a selection around that white area I just want to clean it up a little bit so quick mask anyone know the keyboard shortcut for quick mask I just gave it away is the qi wasn't all right so I'm gonna go here I'm gonna grab a big bush and I'm gonna paint actually you know what on the next time I'm gonna put my welcome tablet because I'm right handed so it's kind of useless that's why I haven't been using it so you're from walk home watching say was you know using this tablet because I'm right handed all right so I'm just pointing that out and I'm going to q and now what I've done is of creators selection so I'm gonna put that side of moss because we don't hit the delete key do we we hate the delete e we hate the eraser tool so I'm gonna hit that all looks weird what happened oh no I'm going to hit the option key and when I play option key what it will do is it will take the selected area and make that so the other thing you could have done of course is you could go he could it come on guy to convert it so what I'm going to do is grab the something for background this is from bad water this is in the wonderful death valley drag and drop and I'm going to put this in the background and drop it down about their ish drag it underneath, make sure it's in the bottom so a couple of things we want to do is this background looks awful, I want to lighten it up a little bit and she could have just used remind you if you situation, I normally would use adjustment layers, but in this case, I'm just using of a back and I want to de saturate a little bit because it shows distance and lighten up a little bit, says atmosphere, because you really care about what's inside the card. I want the outside to be too far to find. The other thing you may notice is there's little edges around the windows, you can easily fix that you go in the mosque, doubleclick the moscow will open up the properties, we can use the mosque edge and these will be covered. You know, once again my compositing class, I'll get in more detail of this, and I just want to give this a little bit of a feather here and, um then I'm going to take the shift edge and I'm going to shift the edge and see how I can just get rid of those little edges there just like that, and now a ten if it's, if you didn't like that, you know, I could go back and change it because it's completely not destructive but but in a nutshell, that was what we were able to do using this select highlights. So, you know, before and after the kind of thing, ok, the next segment we're going to be doing, I have noted, I'm kidding. Way we're going to be doing is we're going to be doing is called compositing tips and tricks. So we're going to be looking at compositing, which is combining more than one photograph together. So we're going to be looking at what makes a composite believable on what makes it unbelievable. They were going to look at a couple of basic tricks, which will make a any composite look completely believable. And then, if we have time at the end, I might even show how to do a little bit of cg photography, where we mix three d elements with photography as well. So we're looking at shadows, reflections, all these kinds of things that could be fun.