Best-Kept Adobe® Photoshop® Secrets


Best-Kept Adobe® Photoshop® Secrets


Lesson Info

Best-Kept Adobe® Photoshop® Secrets

All right, so what we're going to do today is we're going to be looking at a bunch of techniques, but before we jumped into the techniques, I want to show you a couple of things I I have done just to kind of give you a little bit of a background of where are kind of going with this I started doing these hundred percent illustrations this's a hundred percent done and photoshopped from scratch, so there was no photos or three d or anything used for this and it was a couple of things that kind of got me started on this one of them was back in the day I you know, for like youtube and all that stuff actually was a while back um and then I heard the stop was they were doing, you know, photoshopped them using first, I didn't realize that that time they're building texture, maps of stuff I thought they were doing, you know, all the work I mean, I did that matte paintings and stuff, so anyway, so I just decided, you know, for fun I wanted to learn how to create one hundred percent photo shop th...

ings this is what I did and I did this one years ago is one of my first pieces, and I actually want some guru woods and stuff for it, but I just show you some more here the reason I'm showing you these as is the break and I was actually sitting I was a creative director and you know, because I know you know, people watching betting rise a creative director and someone at another desk was listening to music I didn't really like that much every day, so one day is a creative expression I just decided I would get my frustration out so I created this this is all from scratch in photo shop I didn't use any references on this, which is unusual because typically when it comes to doing this kind of thing, using references really help because using references you can actually see, you know, the way light reflects and works for shadows and stuff like that. Now the reason I'm showing you these before we kick off the other stuff is because doing this kind of work even know if your photographer don't shy away from this kind of work because really what it comes down to if you want to be really good and photoshopped, you want to be really good at any kind of visual art it's not I mean it is the techniques of useful but it's not all about techniques it's not all about nine which keyboard short curtain passing all these exams and getting all these letters after your name what it's about is living how to see so it doesn't matter if your photographer design a oddest fine artist digital illustrator learn how to see and that will come into everything so for example you know when I create these I'll show you ah one of full size here and you'll get an idea the kind of detail in here this is hundreds of layers I don't know what that is andi learning how to see like is understanding the way light shadow works the way different textures look the way they do so let me zoom in a little bit here we can see the kind of detail on this we get two hundred percent so this is one hundred percent as I said created from scratch and finish up for a blank document and so these are old just built up and many, many, many layers and you can see that I've got all kinds of layers and layers groups and everything like that so just looking at each one of these parts for example, you know, I've got a reflection here in the paint so you're looking at it and you're saying ok, the light's hitting this way this is how life works and or for example like the texture on the knob here you're looking at these things are a little bit of rest here inside these screws so looking at the way that light reflects and really looking because I example I like to use this when you talk to people if you really, really want to get good, you've really got to learn to see. So for example, chrome, what color is crumb? A lot of people say silver, right? But no it's, not crime, has no color is pure come what it does is riff flexes environment, so a lot of people just look on the surface, so you're looking at texture and you'll just see something you like all that green that's red. But you look at it really closely, it's like, if you really look at krome, you'll actually see the environment in the current so it doesn't actually have any color it's actually reflecting the environment. So that that's the same thing. You know, if you look at glass well, why is it you can see glass? What is about glass? Can you actually see the glass will know you can see the faults in the glass. You can see reflections in the glass you can see the highlight. You can see the speculum highlight with the lights bouncing off, but you can see refraction behind that you can see how it affects us and works with its environment and understanding. That really, really helps in your photography and you're lighting. In your illustration and you designed like, you know, I do a lot of photography now and a lot of what I do in lighting I learned an illustration like understanding how to describe a surface you know, a surface has a different quality for example, you know, I have very, very shiny surface will have a very, very hard edge on its highlight, you know, for example, I'm like here you see here, you know, just kind of like these edges here a little a little brighter than a softer see this see, this is a plastic see how the edges is softer there or in the wood there it's a little softer, so so the way that light works and they're kind of describes their surfaces, but anyway, I just wanted to kind of lay that foundation and just kind of show you this um then the other thing too, is I just felt like a little bit of a challenge is like, you know, if I can learn how did create from scratch and photo shop at that point, you know, then I'm going to have to do anything because what happened is they used to do a lot of retouching, and I'm sure a lot of you do retouching, and a lot of the photographs I had was so bad that I ended up illustrating off the photo because I had to rebuild it so the other thing was like what? And I just you know, do every touch starting from a blank canvas and so anyway let's jump in and let's do some techniques now but I just really wanted to just kind of emphasize that because I think sometimes people get so hung up on the techniques on does not the techniques and making great what makes you great is is the creativity is you know, once again learning how to see and it just goes into everything even like most of what we're going to do in this session today we're going to be doing a lot of stuff of photographs so if your photographer you know don't don't turn out this is going to definitely apply to you that is like letting one discipline helps you in another discipline for example I play guitar and to become a better guitarist I learned how to play keyboards why did I do that? Because on a guitar I can't do the same thing with the base you know, a couple of octaves down on what I'm doing up here with with the cords you can learn how to kind of blend those together and it actually so everything that you do and to bring it back to visual arts everything you do in visual arts is going to help you whatever discipline you do so so let's have a look at some fun techniques that we're going to do right now the first one I'm going to do this is something that's very a lot of people ask me about this I hear it all the time it's when you colliding and compositing bringing images together it's puppies opening to photo shop right now is you know, how do we make the colors match? Because it's easy to put things together, but sometimes you just seeing the colors are off, the tones were often it just doesn't quite look right, so what I'm going to do is I'm going toe take this and we're just going to drag it into the other document, drive it into the tab, hold the shift key and that's great, but again, we should we got it holding down the shift, he should drop it right in the middle there. So what we've got is we've got these two, so what I'm gonna do is I'm going to blend the two images together, so instead of having just this here, I'm gonna have a beach in this shot, so we're going to go here, we're going to create a lay a mosque just by clicking on the new layer mask icon, then we're gonna grab bag grady intell and this is a totally is all the time when it comes to blending now make sure that you've got the city to the foreground background, which is the first option here and you're using alinea grady in make sure a pass it ease up and make sure it's not in some weird blend mode because if you do that you won't get expected results so anything, what I'm going to do is just hold down the shifty now and that constrains everything sito a forty five degree and comm so just think a lot of things you do shift is the constraint key and it works in more places than you would think so I'm just going to go like that and if it doesn't work you go the other way like that that we go and so what we've got now is we've got kind of like a little beach thing going on now the thing about it is if you look at it, we get this beautiful sunset here and down here is a different time of the day so it's not quite matching so what we want to do is we're just going to make it manage we're going to select that and we're going to go under image adjustments and we're going to choose believe it or not match color so he is one of the things about match color a lot of people don't even know this box exists came out I think photos up six if I recall correctly so what we're going to do is we wanted with good to documents open here is we want to change the source to the document we're working on, which is nine beach, so we're going to choose nine beach, make sure we do the source, and you'll see that that is now the document we're working, so the other thing we can do is we can now steal the color ofthe another later and apply it to this top layer that we working on this is their layer here, so we're going to go in the layer and we're going to go to the background image see that how grabs a color right there now it always looks horrible when you first do that and that's, why there's a fade button? So if you take the fate, but take it all the way down, and then we just creeping up a little bit until it gets to about there and see how the colors that kind of matching now a little bit more. So I just want to give you a tip, too. While I'm here, the reason I didn't go this way, starting from full strength and pull it back is and you'll see how do I do this a lot when I'm applying some kind of an effect, what I always like to do is take it to nothing. And in that way, my eye calibrates to the image with the healthy effect and then when I add a little bit of the affect then I could be settle because it's all about subtlety if you work in photo shop and you start using a lot of filters and stuff like that, most people are too heavy handed on dh they, you know, basically there very, very heavy handed pouring so they get drunk and photo shop and they looked like a drunk because they images just get just a miss, so just remember less is more so by taking it to nothing then my I will be like, ok, that's enough, and we kind of apply that so that that that applies to a lot of different things when you're blending people together, you get a couple of different people in the photographs and and, you know, any kind of collision when you're bringing them from different image sources. Now, one thing to be aware ofthe when you're doing that is shadow. So you know, if you're bringing people in from different photographs, make sure that the light source is coming from the same direction and that's another one of those things you learn, you know, that you pick up when you learn how to see and I'm really going to emphasize that so what I do is I look around in the really world and I'm always looking at things that I'm really observing and you look at somebody like look of rust and then really look at that rest how many different colors can you see in there and just learn how to do that? And you look like when you see in lightning like, wow that's really beautiful view that just walked on your scalpel houses riel well, why what is it is the particular it's in the air is is that you know what? What is happening? Why is it so amazing? Because if you can't identify you can't reproduce it so if you look at it and you're like wow that's incredible, you know, take no like what does it all okay? The backgrounds kind of like really faded and I love the way the lightning just hitting this part here and it's kind of really dark of and take a mental note or even you know, shut it down and then go back to photo shop and recreate that and that's that that's how you actually could recreate that magic right there in front so let's go into another technique here that's such a beautiful approach colin just a really constantly keep your art with you throughout the day well, I just love you know like what I do when I do this I love what I do I don't do this I'm not professional teacher, you know, try to make a living. I mean, I mean, yes, I would like to make a living, but I mean, I just I just I love my art, I he is just something I've just very, very passionate about, and and it really goes a long way. I mean, you can't really stay in the industry a long time, he really don't look like you do. So what I'm going to do here is I'm gonna work on this little photograph here of these people by the lake, you might say what? Like, well, that's, what we're gonna do, we gonna create there? Like, so you're going to get two tips here? Like one? I'm going to show you how to create a lake, and in the second things, I'm going to show you an actual practical purpose for content were moved. I'm I love this tool and it's an amazing tool, but it's, like I can rather than just taking a dog and moving it from one side of the field to another side of the field, that has to be something a little bit or useful. And what we've got here is I'm not gonna put the water down here, and we got this campfire, and unless this wood here is made out of magnesium the fire's not gonna burn underwater so what we need to do is we need to get the fire out of the way. I mean, we could just get rid of it or we could move it, keep it and I just think it's kind of nice to have a campfire, so what we're gonna do is we're going to just grab our content aware it'll now be aware who was not intended, but the content where has two options moveon extent so we're going to make sure that we use the move option right now and I'm just gonna make a little selection around here and it doesn't have to be perfect. It can be kind of like this, so here's a tip don't put it over here because it doesn't matter what you do is going toe never looked great see, so don't do that. So one of the things you want to do when you're using these tools is look for an environment or some way that you can kind of do it where is going toe sort of blend in. So what we're going to do is bring it up here and see if we get it to blend in here and notice of good different options here, so I'm going to take it and I'm just going to drag it up over here. And see if we can get it to kind of work that it's not looking too good let me try that again um make a different selection here just get a little bit tighter there we go all right said now we've got out mode said to move coming aware and let's see what we do here pop it up here and you know that kind of blends in a little bit better it's not great though hang on let me try different sitting here sometimes you gotta play if these sittings let me just don't do it and get back we're gonna move it again and let's try loose it was a little bit better so we've kind of moved the fire I mean it's not perfect but you know what unless people are really looking at it you could kind of must get out a little bit of whatever if you wanted but so what we're going to do now we got a fire up here we're gonna put some water down so what I'm going to do is I'm going to duplicate this in a way I like to duplicate a layer is to use command j which is the j for jump I use a lot of keyboard shortcuts um you could drag it into the new layer icon but I like to do things quickly so what we're going to do now is we are going to you kept us off at the bottom so I'm just going to go here and I'm just going to say, you know what? I'm going to cut her off about here now there's a million different ways of doing this but let's cut it say about here be a good place to have the water and I'm just gonna hit the delete key and what it does is it just trims it there, so now we're gonna flip it so I'm going to hit command t which I will use all the time, you'll see that free transform and the free transport for motors just wonderful because it brings up so many options when you right click you've got all these different options and things you can do here. So what we're going to do here is we gonna flip this vertical and holding down the remember the constraint key fifty you dragged us down see now keeping constrained nicely and we're just going to go to where it matches nicely hit ok? And so now we're almost there so what we're going to do now is make it look a little bit more like water, so I'm going to choose a blurb gonna choose able to blur, but I'm going to use the motion blur and bring it straight up and down that once again hold the shift key that'll keep it ninety degrees and see how it gives it a nice little scene there and to top it off if you want you can prevent capacity just a little bit and start to show a little bit of the river bed underneath and there we go so we basically get these people now sitting by the by the lake there and having in a camp a lot more pleasant than just sitting by this hole in the ground and in a way where we can't buy hole in the ground all right? So having talked about that I want to show you something else here gonna pump this open because we were talking about the content or where I'm going to show you a number of different techniques now and this this little this little thing we're going to do here you'll see a number of the tools actually a lot of the new cia six tools are going to be used here, so what we're going to do is zoom in two hundred percent which was a command one or there would be control one for windows people so I want to do is I want to straighten up this building here so I'm going to grab this and I'm going to steal the texture from it so we're going to go to a crop tool we got the perspective crop if you remember if you're using a vision earlier than forty shops here six you've got the corruptible and in your heaven check mark that says perspective so you can kind of do the same thing but it's a lot nicer to see a six so I'm just gonna grab here and I'm gonna just that to define these edges here so what we're doing is just creating a grid and I was going to go across there and we've said this great now if you don't like it you can always move in you can change it later let's get a bottom here and we go and now what we're going to do is just hit the and turkey and what it does is it just takes that texture and straightens it up now this is really cool for creating texture maps for three d other things if you're using a tablet like I am and you want to create create brushes it's really nice to straighten things up first before you create a brush because this much more useful because if you created an angle it has a very limited use and then the other thing that it's it's really good for is taking photographs where they've distorted into striking them up so I'm actually going tio just I'm going to do this one more time because I'm going to show you another way that we can do this using the same tool you don't have to grab those corners like that the other way you could do is just go like this and just drag it out and then grabbed the corners independently like currency so there's a an alternative way you might find this a little easier so we have a ticket to hear on dh so one of the things you probably want to do when you're doing this is look for lines in the building seacon or whatever you're using to strain and look for areas that should be flat see I'm using the top of those windows there and in the side and in that way it will help you get a much more accurate than we had into it and here we go so another thing I'm going to show you that I'm going to zoom out a little bit and I'm going to show you another feature in the corrupt old so we're just gonna grab the regular corruptible and we wanted to corrupt this bigger I don't know if you were aware of the fact that you can actually just drag it out like this and then just hit enter like that if you want to actually create a bigger a bigger corrupt areas you can actually change the size of a document like that so what I'm going to do now is I'm gonna grab another one of the favorite tools that we were using before we're gonna grab that content aware and I'm just gonna make a little selection around here just roughly around there and why don't we just go all the way to the bottom okay, so I made a selection and now I'm going to change him. I'm going toe put this to medium, and now I'm going to put it to extend, so if I grab and hold one shift key, I can constrain this down and let's have a look here lining up, release it, you'll notice that it plans in so we could do the same thing again to get us so we can extend it. This is the extend option and content aware which I love if you do any three d work, it is really useful for creating textures see that's just like magic, it was actually a little rabbit, and they're just waiting to pop up. All right, so this is where it gets real funds, so we're basically taking this from this photograph, so now I'm just going to go to three d, and I'm going to choose new mesh, and I'm going to use mesh pre set people up and says, no, I'm gonna get a three d we're expect, you know, why? Not just for fun. All right, so what we've got now is if you look at this, we can click and drag it like this, we've created a building right there out of our out of a texture. So at this point, you could go in here and you could select the building and, you know, I'm not going to build a whole three d city, but you can literally get from this point now, and you can scale it, you can change the, you know, the shape for example, you can change the light source if you click here, you can click and drag around, see that now this is only in the extended version of photos for the sub standard does not have that, and so you can kind of do that, and you could start put a bunch of buildings in there and in about ten minutes, you could build an entire city. It's it's fun, you know? So you can build shapes from from your photographs, all right, let's, go back to my timeline one here and I'm going to I just changed my work space, by the way, if you wanted what I was doing. So I I d like to save my work spaces here, so I've got a kind of a little bit weird by minimum one has my timeline, and one is his timeline doesn't that that's how I said it all right, so let's, do something else here that's going to be kind of fun? I'm thinking about a special effect let's, try a pencil sketch, a lot of people wonder, you know, hey, I want to make a pencil sketch out of my photographs, so this is actually really quite simple. What I'm going to do is I'm just going to create a new layer like that, and I'm just gonna hide the background now, I don't really need to do that, but the reason I'm doing it is it's a habit is I like to save my original photograph, I'm going to do anything destructive, I save my original photograph, the bottom layer used to be back in the day you would save it's a different document, and then you go on, but I've been doing this for about eighteen years or something, and I opened an image, and sometimes I can't find the original document anymore. You know, they kind of get separated, so just keep her right there with the original photograph. It doesn't have that much of the file size and storage is cheap, so that's kind of like a tip, so I'm just gonna hit command. What are we doing here? Come on, shift u two de set right now this is not the preferred method for creating a grayscale image and I'm not trying to do a black and white conversion here I would do that different way all I'm trying to do is for the special effect I'm just trying to make this black away so you could go on the image I think its image saturated under there somewhere image adjustments to saturate there it is or come on shift you so what I'm gonna do is I'm going to copy this so come on j to copy it and in another key both short to inverted command I've inverse so basically what up, guys? I've just got one copy of the black and white image and I've got it invented so now I'm gonna change the blend mode the bland mode I'm going to choose is the color dodge and doesn't look beautiful way so what it's actually doing is actually canceling itself out right now so in order to get out the sketch it's going to come by making a difference I'm going to change one of these over the other and in the difference is going to show now there's a million different ways of doing it and you could use just about every filter and it's actually fun going around and experimenting and I've actually experimenting with this technique if a number of different filters and you get some great results but what I'm going to use right now is the basic one is the galaxy and goes and blur have you want to say it on and you can see here that if you take it from the beginning here very low you get a really nice pencil sketch you know, concave from michael sketch that they're up to nature and you pull it further getting like it almost a photocopy kind of a look, so I'm going to bring it back a little bit I'm going to get for like a little sketch here and we're gonna click ok now if you want to make it look kind of interesting this other things you can do to it so I'm going to create a new layer here and then I'm going to change it to color blend mode so that means anything I do in this layer now the only thing that is going toe affect it is going to be the color so nothing else is gonna affect us. So this is fun so you can grab like a grady until here and you've probably seen these kind of things done before you go I'd like the rainbow colored grady and drag it across you can add these kind of cool colors, says candle, you know just an additional tip or you can kind of do whatever you want I mean you could use the original color of the photograph if you wanted to duplicate that. So at this point this is when you just getting kind of just get crazy and just experimenting changes to color and you can see you get the kind of results you could change the blur and do some things but something that's really cool and then you take this a step further here I was kind of wondering because since photoshopped supports video and I was like, I wonder if this will work with video and because that would that would be kind of cool so let's see, make sure got made video here I'm going to open this inside of photo shop so that is a video clip there and what we're gonna do is dragged out and and we get so you can open a video footage of what I'm going to do is I'm going to be really nice to you and I'm going mute the audio because it sounds really bad because I've got a car here I'm driving on the road and I'm not going to turn on what here because I had a camera, I basically got the suction cup and I this is before the gopro I didn't have one of those, so I had my five d bouncing around on the hood of my car and and then the sound wasn't really good it's just kind of like this so I'm going to kind of not here that he would get his in front of a car all right, so what we've got here is you can see that we get the car driving up the road, you kind of get the get the idea so what I want to do is I want to do basic looks like things I need to convert this to grace calendar no, it can do that because if we get beautiful adjustment layers and I gonna use black and white, which is the correct way of doing it so we've got that that's great, so what we want to do now is we want to duplicate this I'm going to take that whole video group and duplicate it I'm not going to get into, you know, def video because that's not what decisions but if you want a new layer on top of the other one if you duplicate the larry thin within a video group is just going to throw it to the end of the timeline. So if you want to be out to stack things, you have to create a new group because the group actually becomes the layer when it comes to video, so anyway let's go here so we get the black and white what we want to do now is we want to invert this so I'm going to grab this and we can use the inverts it is an adjustment lay for that and we're gonna use invert so there are there we go now before I do anything something that you've got to be aware when you apply a filter you could apply a filter to video but if you do it like right now where we've just got a video clip and I add a filter right now if I want to blow this it will only blur one frame so if you want to add a filter to entire video clip, what you've got to do is converted to a smart object so what you were going to do is just right click here on this top layer and we're going to choose compared to smart object now what happens because now it's a smart objects he had changed the color there too so when I apply this filton now it's going to apply to that smart object which means that every single frame is now going to be affected which is which is super cool but before I do that let's change the bland mode here let's go back to our color dodge blend mode and all right, here we go fingers crossed that this is gonna work we just felt a blood and we're going to grab the calcium blair a close up look at that it worked wonderful ok life is good still all right that's good all right, so now this point, I'll hit the space bar and it'll play, but I've run a little slow because it has to kind of round of this. You can see the little green bars kind of appearing at the bottom there, and once it's played all the way through, seeing that little green bar there that's showing you that that's where I'm preview, so once it goes all the way through, then it'll play at real time, so we're kind of wondering why we're doing that just to throw something at you. Anyone have a question related to this? While this is rendering way anyone in studio okay is we've char and pam asked, how can I need the audio from the video I important photo shop if I want another audio in the background? Um, if you want to put the audio in the background, what you do is you're right click on a timeline where it has the audio, and then you'll see the two little tabs and I'll show you in a second and you grab the second tab and the second termers audio's. You can actually control the audio volume or muted, and you can also add separate audio tracks you can actually just important video will snatch the audio off the video terror by the video. Or you can actually put like a music track or something like that it's it's kind of fun all right, we're almost done where was done so he would go get ready for it real time real time uh oh here we go here we go look at that in a way we go now this is only the you know, the preview so if I read it this out to a video clip of then at that point you wouldn't even have to worry about that but it's not fun is that totally fun? So what I'm gonna do is I'm just going to show you something else just because we can and because I want you to kind of use take what I'm showing you here taking everything I'm showing you and put your own twist on it because what I want to do is unlucky creative juices so you could take these techniques in using for yourself so one of the things we're gonna mosque here so what happens if I working for mosque? I'm gonna flip it around I'm gonna make my brush a little bit bigger. I love this little thing that pops up says they're going to keep us okay and if I go on here is that the let me make sure you know I'm going to go on my video played on mrs up I'm gonna have a musk no well ok if this doesn't work we're just gonna move on um you know I'm doing something weird I was thinking about something going on in several committee leaders panel you pull this out a little bit second so let's get over here we go all right so that was the one that was hiding it and yes ok so what we're going to do here is we're gonna go in here now and let me just pull this one back with white sir about that um there we go so I'm gonna grab this one here because this is hiding everything so if I go here and I paint in the months with black here notice I can point in front of the car back in so the whole purpose of me showing you this and actually this do this it's kind of weird I'm going to get like this and actually show you a little bit of the road in front of you on the reason I am show you this is because just so you know that you khun mix the effect see that the front of cars and she commits the effect with the with the rial with the real video so anyone that's that's it all right if you have a question I have a comment and a question with the building you made I was just thinking that's a really great way to make assets for video games easily and then also uh I've seen where you can do a time lapse of the mask moving across during the video did can you? So the latter? Well, I mean, I could I don't really have the same kind of pressure time lapse in a second, but you can you can animate the mosque because if you do twirl down here, you'll see that you have all these properties here so you can actually do animation. I don't want to get too caught up in it just because it's not really the focus of that the class, but absolutely but let me show you the other thing too. When they were asking about audio's, you go here, you right click and you have this option he had clicked there and as your your volume in your audio controls but each track so that's how you would fix that and in a ce faras animated, you would just basically just select to create a key frame by choosing position moving in and just drag it across and it moves things but let's, jump in. I'm going to show you that actually since you mentioned time lapse and know a lot of people interested in time lapse photography and it's fun and photoshopped actually does a pretty good job, but here's a little tip I'm in bridge right now and I'm going to show you something really interesting that is the only as far as I know the only new feature in cia six bridge is this so basically what I've got is a serious of photographs it was one hundred eight photographs and for those of you who don't know what time lapses basically you put a camera on a tripod make sure you put on trip handheld is just not going home cleric unless you could hold a camera perfectly still for five minutes, you know you could rest it on a wall or whatever, so basically what you do is you sit in a kilometer there's a little thing that plagues in order to use the software that comes with your camera and use it to take a photograph, a sit in a bowl and this case I'm taking a photograph every every ten seconds, so by taking ten seconds notice that it progresses and then you get a little bit more movement and each shot. So then what happens is you put it together into video so I'm going to say something's really cool is because I actually have a bunch of time lapse that I shot was like, you know, hey, I want to find a good one I can use from a creative life class so what I did is I went through them and check them in bridge so this is what you do you go into birds select all the images that you going to use for your time lapse and that is one hundred eighty selected they're gonna write like any gonna choose stack and in staking group as a stack so we've got him in the stack here and now we can zoom in so we could see the stack and this is that, you know, so if you could do this, you can actually script through the photographs you see that and we're actually preview it. Now the new feature ascendancy has six is if you right click we can change the frame rate, so if we go under the stack, you'll notice a frame rate it's by default to frames a second, so they're basically enables you to just automatically look through photographs, but if you take it down to, say, twenty four frames per second, which is what they use in cinema, they used thirty frames per second on tv, so what we're going to do is hit go back here and now we can hit play and look at this it will now play a timeless for so it's actually cycling through these photographs, so if I look at him like you know what? Hey that's really cool that works I didn't create a time let's all I did is preview it, so now if you want to create a time lapse we're going to go into photo shop and create one, and we can absolutely do that's really easy, I'll show you, we're going to choose file and we're going to choose open, then under open we're just going to go into a folder of images here that I've got set for time lapse, and we're going to go here and we're going to get a question ready because I probably needed question in a minute because it can take a second, not not this part. So what we've done is we've selected the first image, and if its parliament image sequence hit the image sequence, but that's, the key and it sees is incremental numbers had opened and set the frame rate will do twenty four frames you really want to do the list let's frame rates because you can squeeze it, get more out of it because it literally you think about it if I'm doing twenty four frames per second, that means that twenty four photographs in a show in one second, and if it takes me ten seconds to capture each one, you can imagine you got to be there for a long time to get a get a time lives, so if there's a tip, if you're going to be a timeless photographer, if there's a tip, get a second camera, so you got something tio cameras sitting all right, so basically this isn't here and I can hit the space bar and uh why shouldn't that it is playing in real time so that's wonderful I'm happy about that and that they should just keep looping so you can see there's no fun look at the little boats it's amazing they didn't crash into each other at that speed, so so you could also you know, if you wanted you could apply different kinds of filters and stuff like that on the layers just like you would a regular one now on the which we don't have here. Unfortunately, on the creative cloud version of footer some perfect creative class drivers, which is a six point one the one thing you can do here is you can convert that to a smart object and go under the blur and you can create the under the filter the blur you can use your till shift and you can actually create a till shift effect although it's a single frames you can kind of see sort of how it works, but if like I say if I don't think we have that version on here but let me have a look, I'll turn into a smart object and I'll say what would happen convert to smart object and we go to choose choose the filter the blur you see these great out so this is the radio this is the shipping version of photo shop which a lot of people have you have creative cloud you can apply it so what I'm going to do is take a photo and I'm just going to show you how that till shift effect works because it's it's fun so let's go back here and see if we get an individual frame we can use it put this work and you take this in here so here's a photograph I did in l a this is the l a river this is what we call a river in l a so picnic by their it's uh it's kind a little different than here you guys got a lot more water than we do um so what we do is we get to choose a filter and we gonna grab the blur and then we're gonna use till shift and what this does is actually simulates a till ship lands and till shift lands gives you a little strip of focus here. Well, trevor getting us off and what it does is it gives you that appearance of macro photography which makes things looked like miniature makes it look like toys so I click ok and you can kind of see that it in effect but you can apply it tiu the video on that six point one says pretty cool all right let's uh jump on to something else here all right I'm gonna do is super super quick tip here because this is this is like one of those really useful things and this is I'm going to change this teo they would go on and, uh it's going to close this to give myself a little more space because the tabb group and we're gonna zoom in all right? So hypothetically speaking, if you're working with a client or or an art director and and I have been on our director so I know firsthand that nothing is right everything else has to be changed afterwards so this assuming we did this project here and and and I came in and I said hey, you know, we want you to shoot this girl we want to do this eighties out the things so we do the shot here and this is lana by the way great model and uh and then after the fact that our director says to you hey, you know, that's great I like the green you know, leggings here like what was could you make the script green, please? You know, so you right now you've got three options. The first option is to call the model behavior finding green skirt come back let's reset this thing not a good option it's not a good option for expensive the second option is you could painstakingly sit here with the selection tool and you could select told us and change it or the third option of course is to watch this class of creative life and do this technique so what I'm going to do is I'm going to say it's actually really easy it's just a little hack on the saturation I know there was actually, um replaced color and photoshopped actually find this one much quicker so if we go here and we change the hugh here's the great thing about look at that I could make a green is not awesome if I was working on avatar yeah all right, so what again it is I'm going to bring this about back here we're going to reset that so what we want to do that the key really is under the master you want to change this to anything and what it does is enables this little toll here and we can grab this little slider thing and now if we click and dragon this is using the adjustment layer here hang on not the situation I want to do the u okay, I don't usually please work for me describe the hugh if not, I have a quickly to do it all right? This is easy much this what we're going to do is dump that right don on dh mind you you situation here we go so we're gonna grab about monster change into something else don't worry that was not lost go down here and we're going to grab that color notice the samples of color now so if I slide my few slater there we go look at that see had only changes the script now nothing else so we can get to the green and we are done now if it selects other areas that you didn't want to d'oh just use the adjustment layer like it did that use the right sitting and it must get out all the other thing you can do here is you could just use the history brush and just painted back but and actually did a really good job there and just grabbed our agree so it's a really, really quick way to change the color without changing the color on everything else so it's one of those like two second tips and what we're gonna go here alright this's funny doesn't love this okay topography on things and logos and stuff so you know he would get the sign and we want to put something on the billboard now you can create it and you can kind of like matching perspective by using free transform and all that kind of stuff but there is an easier way so what I'm going to do is I'm gonna grab the type here and we're going to grab a color it should give up here let's do you know a brownish color just because and uh we got a title that working yes you don't need todo be believing I actually saw that on a sign so I'm just gonna break that two lines here all right so let's finally you know fun it's a little bit more interesting maybe a bald here cisco for bald or what about the black that we get all that was good all right so you don't need tio beef so we want to take that we want to pop it on and signs so he is an easy way to do it I'm going to just hit the command aid to select all and come on seat to copy stuff done it and I'm just going to hit the turn it off and I'm going to create a new layer so what I'm going to do now is I want to go in here and I'm gonna apply this two are using vanishing points we gotta choose filter we're going to go down to vanishing point and that's an old plane I can just delete that the delete key so what we're gonna do is we're going to define the area so we're going to grab the first corner now he is a tip if you hit the excuse you can zoom in c that gets you right in nice and close and we're gonna grab a plane we get it to find a plane here so we're just gonna grab here grab here and if you had the ex key while you're drinking notice you consume and really quick and I will temporarily get you in this, you can get those corners and nicely lined up so basically what we're doing but doing that is we're defining a three dimensional space a pseudo three dimensional space and then I had come on v to paste so we pasted our stuff in here and look at this we drag it over here and if it's a sign is that nice so easy and at that point just click ok and look at this this is the reason I kind of did that I created on a new layer I don't know if you knew you could do that vanishing point, but you can just make sure that you create that later first before you do it and you can just kind of drop stuff on there so you could do the same thing with images. I mean, if we wanted to create a little let's, create another layer here and I'm going to grab my shape tool custom shaped tool and his three options up here shaped path and pixels a shape will create a shape layer a path will create an empty part is using, you know, like the mental one and in pixels will just create an image, so make sure you pick that move it's really important and then we're gonna go into shape is all these sites if they're not showing, you could go into here and you could actually load them in. So we're going to go here. We're gonna grab this this poor here's a kind of course, like aware wolf kind of thing. It's neat. So he's going, click over here and I'm going toe hold the shifty to constrain the shape. And I was going to create this little guy here, and I'm just going to the same thing. Come on day, come and see and hide that layer and we're gonna create a new layer here and we're gonna get back into the vanishing point again and we're gonna get back out to filter. And we're going to go back to the vanishing point and you'll notice that our grid is still there and we just had come on tv and we could drag it, see that it so we can actually start to drop different things on there and click ok, so that that's the logo for this restaurant? Um now the other thing and then he is a reason why I put these on a different layer because in this case is not bad it's just you know we worked on a white surface but sometimes there's a little texture of some grime or whatever and you want to blame it and we can use the blending motive would you goto like overlay mode or you know whatever mode actually overlay looks good because it looks kind of faded because let's do that we're going and if you want to double up just hit come on jane just copy it there and what kind of blend in a little bit look a little bit more later which is good because you can tell that no one's really being here for what so that's that's vanishing point it's a lot of fun and now we're going to do something totally different ah wedding photographer is gonna love this one okay do my magical glow this is thisa kind like a one hit wonder you're not gonna definitely don't do a whole album like this because this won't go well if you do you know do one of these you know it will you will sell a photograph because you know this is like a fairy tale kind of thing I like to call it so what we're going to do is we're just going to kind of just create that glowy you know everyone's in love and you know like they are waiting hopefully so what we're gonna do is going to make this election where you had to choose color range. Now we're not really gonna grab color, we're going to go down here and instead of using all these options were going to get the highlights and in that is there and we're gonna click ok, and water does is it selects all the highlighted areas of the photograph. Now we're just going to copy those to a new layer and the way to do that is the same way you would create a new layers that come on, jakey, if you have nothing selected command j duplicates the layer if you have a selection, come on, jay copies the selected area ten you like to see that? And if you wanted to cut it, you would use come on shift jake, but that's a whole of the story. So what we going to do is we're gonna choose phil to blur, and I were going to create the dreamy kind of blur thing we're going to take these whites, you see, there is this all of a sudden the clouds of pink and everyone's in love beautiful is he's just creates that nice romantic look, and if you want, you could put it to maybe a hard light or you could try soft light and overlays that just play around with the bland mose depending on your photograph you can kind of see you know it's like almost in love really in love that you will you will you guarantee your bridal pick one of those I mean yes or dresses burnt blown up but that's all right that's when you have the other photos and also it also works if you want to do something a little fantasy kind of thing going on here something which is going to choose thie select and we're going to go to a color range grab our highlights click ok client jay and now we can just felt a blur goes a blur and look that's so dreamy beautiful um you know, people could probably buy filters for the camera lens to do this and they would go so it's just very, very simple and it's just it just creates a nice romantic kind of effect when that make people love your photos. All right let's do something completely totally different. No, I love this. This is fun. I'm going tio create a little spotlight effect on here so what we want to do is we want o we get this car here and we want to add some light so this is this is kind of fun I'm just going to actually just squeeze it down a little bit here there we go so what I'm doing is actually using the music might walk on tablet just in case you didn't know I'm using the interest five which has a gestures on it so and uh oh yeah, by the way we're mentioning as a bonus if you go teo my website have down look for you at forty of cafe dot com forward slash creative life I have some some goodies on there and one of them is my walk on presets so you can download those and all my like the way I've set up my welcome tablet you can see that you can basically steal my savings just so very helpful we had a lot of questions about your tablet so that's good okay, yeah, I will just tell us so what we're going to do now is I'm gonna create a new layer here and I'm going to grab the the polygon less a tool it's a political lesser too if you live in utah, right? Okay, so what it is I'm going to get here and I'm going to make a selection here and I have I have a sense of humor in case you didn't notice, so what we want is we dedicate a beam of light coming on to this car, so this is kind of we're going to grab bag radiant told once again hit the deaky to reset it and the ex key you could have just click here and just chosen white two that does the same thing. Um, and what we're going to do is we're going to use the foreground too transparent option you can see the little squares mean it's transparent rooms going click here, I always kind of click I don't like to, you know, when I get out of these dialogue boxes, you noticed I click on the crew because I don't want to click here, and I start to apply my effect onto the photograph until I'm crazy, radio says, hugging my dialogue boxes out of the way. I know it's a request, ok, so I'm getting to frack this out and we're going to create this little beam of light and I have to get one hundred percent so you can see it's not quite there or we're going to do is just change the filter blur and we're going to use that because you know, gals and blur and see how that creates that nice beam of light. Now if you want, you could put a little noise and there make it look like dust in the air, so we've got the light kind of hitting the car, but it's not really changing the car, so we get this beam of light that is going nowhere, so it's not two believable and you could take a passing back a little bit too if it's a little strong there we go. And so what I'm gonna do is going to create a beam of light to hit the car here. So I am going to grab my elliptical marketable and I'm gonna grab in the lips and I want to rotate it now, I don't know if you've noticed when you want to rotate this, you can pushing, you can shove it and it doesn't really seem teo, you know, blow on it and you can't get it to rotate. So here's, what you're going to do this a little tip here is where he used to select we can use transform selection, and this is such a great tool so you can know transform isolation like you would've shapes, you know we can rotate it, we could move around so you don't have to do that. You know, the five and get juggle when you're trying to hold down the modified keys and get the thing just the right place, you can drag it around, you can move it, and this election hasn't been applied to the image it so we're going to do it here technically, it's a little incorrect, I should have made that beam a little smaller just because I know someone's going to say that means two small but anyway s I'm going to hit ok and I'm applying that beam right now so what I'm gonna do is I'm just going to something like my layer and now we get a selection so we're gonna work not destructively I want a brightness area and a way to do that is to use an adjustment layer I use adjustment layers whenever I can and we're gonna use curves and that pops open now notice one of the things right now nothing is happening but every adjustment layer comes equipped with its only a mosque and right now what it's done is black is hiding and wife's revealing that means that this area of this election is all hidden except for where I selected it. So if I want to brighten up now I just get like that see that and you can play around curves and get exactly the and that openly making up and you were correct type of highlight area so I'm just just assume that's the highlight area and then the other thing we can do to is units in the properties panel unsee s six they put the properties panel and the adjustment lay a panel in tow one panel which is really nice in other versions you have a separate one will be a mask panel that you'll open but in cia sixty just clicking and we get a mosque and we want to create a soft tissue which is going to choose the feather see then weaken self image no love that so useful aa lot of these things in the most panel you could do except for a non destructive blur you couldn't do that so basically louis it'sjust blurring the mask and at that point we gotta kind of beam of light sitting there and you could must get out areas will get out like brush grip my beef a brush and make it look small use my lift bracket key there to strike it down I could use the he sittings on my wacom tablet I've gotta sit presuming and I can change it here too if I want to change my berth size I could do it that way so for those of you who have one of those and what I'm doing now is I'm just you're going to just go here and painted out of those windows and out of there because that beam of light wouldn't actually show up in the windows doesn't work that way and that's that's another thing when you say you know when you look in the rear well just look at it take it if you want to know how a beam of light affects a car get a flashlight shining to the car and look at it and notice um so anyway that's just a little technique there's how to create a light beam and that works on a number of different things it's kind of fun when you're doing concerts and stuff like that, you know you've got a you know, in your garage and you want to make it look like you're in a big stage if you can't do that to your really it's kind of fun, all right, let's do, um, tons and tons of techniques here and, you know, I'm going to show you this one, this is a fun for you, so I'm gonna do some sky replacement because I know people love sky replacements and just get a double click open these two and so what we've got here is the sky's not actually terrible in this. This is shut it did in chicago last year, d'leh boat crews down chicago river, which is bigger than the l a river and I'm going to use the quicks elation toll so what I want to do is I want to just marshall this out and grabbing a quick solution till it's really easy to see that just so now obviously the united some areas that need a little bit of attention, so what I'm going to do then you grab that were fine edge and that's a little button, it was there and ok here's the thing it's actually, well, I was looking pretty good so the tip here is, if you want to, you can view it here against, you know, different colors and stuff like that, um, on the overlays, you can kind of see it on white on black. Ok, so one of the things you probably noticed there is that that area there's kind of selected, but it shouldn't be so what I'm going to do is I'm just gonna grab this little brush here and paint over it, and then it kind of picks it up, so he is the key two using this is that something edges of rough water does is you want to change the radius, and so if you use a radius, you get it really good. But notice, when I get that change in that radius, it gets a nice and sharp there, but it's all kind of missed up here. That's what the smart radius is for. So when you turn the smart radios on will protect these edges while getting this one there. And if I want to show you what's happening, you turn on the show really is to see what it does is actually just create a little edge around there, just like the old extract toland photo shop, so basically, you would you know, get the little thing in reviews the paint green around there and that would tell you this is the area where photoshopped has to make a decision what it keeps when it turns away so this is doing the basic the same thing but it's automatic now and so you turn off the share radius and we've got somewhat of a selection here and we're just going to drop it onto a new layer with a lay a mask and I love these options to I always go to a layer for land mask or just to annoy a mask because why lam asks are instructive and I'm just gonna click ok and we've got that's what we're gonna do just inverted come on, I select the mosque first and then hit command I so have invaded the mask and now we've cut out the sky. Now that wasn't the worst example of a sky I mean, you know, I've seen worse, you know? We'll be up ahead that when you have that like white blowing out sky or just a great guy, I just want to make it more interesting anyway, so we're going to go here and I'm going to grab this and I'm going to drag it and drop it right there into a document, drag it between the two and you'll see this aeschylus now you could animate if you wantto fake time lapse the other thing is I'm going to shrink it down so get it come on tv for free transform now do you notice that the free transform handles a gun? Don't you hate it when that happens? See the little bounding boxes so here I'm going to give you two tips on that how to get around that what you could do is you could just lock it here and you could go war like that and scale it down that way that's what I do a lot of the time when I'm being lazy the other way is if I hit come on zero, it will zoom out, you can see the entire bounty books so it's up to you how you want to do it? Um, I'm just going to go back there and we're going to zoom out here and I'm going to do it this way because the reason I want to do it this way and grab the screaming slighted because I can see that full size what's going on and we could just dragging around, so what we're doing is just looking for more interesting part of sky like that's that's kind of interesting there, you know, just adds a little bit of detail now here we are, professor sky and it's looking fake no, you might ask the question, ok, why's this look think and the easy solution to this I'm really going to sound like a broken record because if you don't get anything out of this close with one thing you get is learning to see I'm going to say it again if you want to see why does that look fake? Go outside and well, I mean, you get a great dome here and in seattle and it's not actually a sky and it's just a great don't but that anyone else go look at the sky and sea look and say, ok, what? What does it look like? And one of the things you'll notice is that always gets a lighter is it goes towards the horizon, so what we're gonna do is hit a mosque and we're gonna mosque this out and I'm going to grab the grading it once again for granted background radiant and we couldn't go that way see that and adjusted the shift key come up a little bit and start to fade it and as you do that see how it starts to look more unbelievable no that's more like what a real sky will do, what we could start here, you can play around and try different things, so if you want to hit the shift key, you could see, you know, that's kind of like the boring sky a little bit more interesting now you could grab some color if you want to pick up the color from the previous guy you could do that. What we're gonna do is just take it here and we're going to just change this teo luminosity blend mode see that? So what we did is we got this, we've now got the original color, but we're adding that nice texture of the clouds in there so that's that's another option where you could create your own color and have fun with it? One of the things that might want to do is just punch it up a little bit. I'm just gonna grab by curves, which is come on em in for mountains because curves looked like mountain it's, and we're just going to create an s curve, which is what we do to increase contrast and see how we're having so much more drama than that photographs much more powerful than it was with that born planes guy and me living in southern california all my skies of boring blue there's nothing there's, no clouds. I mean, and I say that, you know, a soon as I say that it will start raining in southern california. All right, so that's a little clouds technique, and I guess we've got time for one of two more quick techniques, and they were going to do some questions so we're gonna go into the next one I know this is kind of this is kind of like a little bit of ah you know, dolly mixture we call it you know, like there's so many different techniques it's kind of little mix of everything here so says kind of fun all right, so what we're gonna do here's I'm going to take this car and I I'm going tio put it into motion I'm going to refrain from the back story of this and how the client didn't pay me for it and we're going to select the car and we're going pop it out so this is a parking lot as you can see there and it's not very interesting but the car just sitting in a parking lot so what we're going to do is we're going to grab our favorite little quick select simple here and oh little tip for people using a tablet there's an option here the pen pressure kind little hidden option is that means if I press hard I get a big selection like that on my personal I get a little selection so enables me to, uh get pretty accurate selections without having to, you know, keep changing the sizes of my brushes and all that kind of nonsense so I'm getting really light around here seconds like the bottom of the tire found grabbing the whole parking lot and we're going to go here grab the bottom here and we're just like the front and I think we're pretty much got to select it so what I'm going to do is grab our fine edge you can see it's pretty good it's a little bit horrible at the top and that I miss a bit looks like I missed a bit there let me just take cancel I'm going to stay like that little bit there there we go says the cool thing that we could go back here so what we're going to do is I'm just going to just the radius and notices I do that it just really cleans things up a little bit and maybe a little touch us moving there we go I'm not worried about the bottom of the wheels doesn't matter because you'll see in a second so we're just going to go here we're going to create a new uh you layer philly a mosque and click ok so a couple of things to bear in mind one doesn't really matter because it's black down there sizzle shadow so don't waste time selecting stuff you don't have to select I'm all about being efficient do the best job you can but don't waste time on stuff it doesn't need to be wasted now back here is really is not very nice it's a pretty horrible selection so I'm going to give you like two tips and won what I'm going to do is to create a beautiful, clean selection on a hide ege surface is use a pen tal now don't be afraid of the pen tal it's not that bad it's definitely worth learning because it's it's a great tool so I'm going to show you how I do it I have a really basic way of using the mental, so what I'm going to do is I know I'm going to go up this way, so I'm going to start here, I'm gonna drag it up here and I'm going to go here and I'm also going to drag it down see how is kind of creating that shape there and I'm just going to click up here somewhere randomly it doesn't really matter who cares close it up, I don't usually don't like that, mister, because it's there, I just don't did that and then wait there so you can do that. The other thing I'm going to do now is I'm going to grab the little plus one and in this is how I just that at this point here I just grabbed these handles and see I could just pull them down now if you want to move these independently like see right now I'm moving in both sides of moving if he had the option keep it will split that notice I'm just moving one now so that I could do the same thing on the other side if I want to do that and here's, I'm going hit the option key and just grab this side and drag out that see that, and in that way, it gives me a little bit more control over their pendel, so I'm going to start here, and then the other thing you could do is just tap release and in that creates another anchor point to strike that accident and now using an option t we'll just each side says no doing the waterbed effect, you know, you fixed one side see like that fix one side, the other side gets messed up, like try to get nine people on a waterbed, so you hit the option, can we split it? And it kind of works out. All right, so we gonna grab that guy here? We've made a little selection, so what I'm going to do now is I'm going to pubs and I'm going to hit the come on key and click and what that's doing is just turning it into a selection, and then we're going to go back to a layer here and because we're working on a mosque. If I want to hide that, I just fill it with black keep a choker to fill with black option because we got the foreground keller here option back space to fill up the foreground color wendy and it kind of cleaned up I could've got that all right let's have a look here so we've got that was in the background back on. All right, so this is where it gets fun. What we want to do now is we want to put this guy in two motions were going to choose the filter blur and we're going to use motion blur from ocean city hit the shifty remember because otherwise it's so hard to get that exactly on zero and then we're just going to drag the sound to the background blurs so we can't tell we're in a parking lot anymore about they're just good for this crazy all right, so then we get we're not in a parking lot let's take our car because of something you later and we'll have the shift key amoyal just we will forward a little bit so we got a little motion blur behind him. All right, a couple of things one of the major things here is right now this guy is headed for a terrible, terrible accident because the wheels locked up, he is skidding and like eighty miles an hour so what we want to do is make sure we get these wheels turning, so I'm going to grab her elliptical marquis tool and making this selection hold down a shifty constraints it's a perfect circle and the space bar enables us to move it see that it really pays to have, like, three sets of hands when working on photos. All right, so what would go if we get a selection around here? And now we're just going to spend this? We're going to choose the filter blur again, and we're going to use our radio blur, and we're gonna change it from sometimes they zoom, we're gonna turn it to spin, and I guess that's about thirty and we just gonna look ok? And we got well standing and we could do the same thing on the back wheel, and I know I won't apply that same filter exactly the same way as I did last time. So commander, if will apply the last filter with exactly the same savings this last time. And if you look kind of filter that you can see it's hiding up there said so that will always do that. So there we go, so we've now got out wheels in motion and is turning around, so the one thing we got to do here is we want to go back in here. I didn't forget to cut out this window. I actually didn't do it on purpose because I want to show you something that's kind of interesting is when you work for les a mask, let me show you the mask here. If you have the option key that turns the mask on and you can kind of view it there, you'll see that the black cuts everything out white shows everything now different shades of gray will actually show you different level of transparency. So if you want a level of transparency is directly relational to the amount of grace eighty percent transparent is ready isn't great. And let me show you this, I'm going to grab a little tool here. I love this pricks like told so wonderful that have to use a tragic one dating mars so happy, and so I'm gonna have option to get out of here and just going to select that so we could go up into our financial we wanted make sure we've got a little selection and a little brush here, we could just paint that and see that, and you see it's actually his magic things by itself. So we're just going to keep this output to selection I'm going to click ok, so now we've still got a selection here, so what I'm going to do now is I'm gonna paint because I don't want to like completely get rid of the window because if I get rid of the window then there's no glass in and if you look at a loss it kind of, you know, that's slightly tinted here so it's going to have an effect on the background so I'm not going to play with black because it would get reid would completely what it could do is do two options I could use precious sensitivity or I could just drop this down to a level of gray let's try here and grab my brush beef a brush and now if I paint in this area he had noticed what it does is it paints it out semi transparent um I probably should go in there blur the background, it's another thing you could do but we're not going to make this perfect and I'm gonna make it this a little dark agree I want to make it get more of it there, there we go and you kind of zoom out here now and it kind of looks like this glass now I know there's no driver in the car that's everything so I have been meaning to actually get a dog I want to just put a dog in there I think that would be fun but we we won't do that today so anyway so that's basically how you take that car you know when you said it before and after thing here at the shifty so before and after it's less fun and we have room in time forward more technique and I almost want to vote on which take me all I know which one we're doing good I love this this is fun okay? This is fun once again we get this little tv sit here and this is a regular tv the only thing I did here is your notice I previously made decision not a good one either it's kind of messy but just so you don't have to sit there and watch me you know, just do that come on, jake which is basically what it did so I've just copy that and what I'm gonna do is I'm going file place because one of the things you can do to is you can place different types of things into here so I'm going to grab a best kept secrets folder here and I'm going todo down too very short film and I'm gonna hit place so what we're doing right now is we're placing a smart object but I can right click and I can use thie distort key here and with the distort key, this enables me to reshape things to my will. So it's kind of like a master of the universe, kind of taking of the university, so I'm going to grab these corners here, and I'm going to grab them and drag him out about there. So what we're doing is, which is kind of getting the perspective of the tv so let's, make sure they're ok. That's pretty close, and I'm just going to the enter key or the return key. Now what we want to do is put this inside the other shape. So to do this, what we get is were to create a cupping group or clipping mask and to do this, we move a little finger thing over the layer and hit the option key, which will be all tom windows, and you get this little arrow things, see that and you click and what it does is it clips it inside there so you can see that that now is fitting inside that space. So we're gonna open about timeline, I'm going to go here, pop up in that timeline, and we're gonna go create a video timeline, and then we gonna grab that later, make sure because to the full length and, um, okay, at this point here, everybody's fingers crust, um this is all you know the moment of truth you never know what's gonna happen right we're going tio full screen mode here and he is hoping hit the space bar and I'm gonna have to open it and they would get like that get on tv playing inside there so it's kind of so you can kind of do things like that with video which is uh which is great man gone that is fantastic that was just so cool and you do it so fast and so seamlessly it just I'm just really inspired by that so I apologize to you if I'm going too fast I tend to go very quickly it's um it's the coffee yeah well I'd like tio jump into some q and a because we're at that time so we're going to start with our studio audience and if anybody has any questions bring him out please the tablets have always first of all that's been amazing but the tablets have always scared me is there a good place to go in for tutorials or where do I start? Okay um well you know at the risk of doing a selfless promotion myself on west maginot from walkout mentioned created a tablet training video that's at my side of push up cafe were actually in our eighth version of it now as we've been doing it for a long time and basically what west does is he shows you how to set up a tablet and use all the people sure kurtz and you know set up all the express keys and stuff I didn't and I should precious sensitivity and photo because one of the things I didn't really get into a lot of right now is because a lot of people are using a mouse so I didn't wantto get too far but there's so many precious incident options here inside of photo shop and like the brushes and stuff like that there's somebody things up here you've got options that you can amusing the first tool we can turn on a pass it e we could turn on size so there's a ll these different options but a lot of people what they do is they get a tablet and then they treated like a mouse they don't use a precious instead of options they don't work smart like for example if I'm making selections or I'm painting I can change it to size so the pressure sensitive it would change the size so if I must do something I want to get a real fine party is it really likely really hard it goes big something with capacity so you have to like break your habit and stop using it like a mouse you you've got a pan and it's not just because it's economically more comfortable you have so many more options I think also welcome has some some training on the side two on welcome sight. They have some basic videos on there that show you the basics. So questions what christians? Um, I was just wondering if you have any skin retouching techniques or anything like that or dude, I do you I can show you should lose her just we want questions just about what we've sener I don't care. You couldn't do any questions for the time. I like to see you too. I've got I've got this little trick that ideo I don't if I haven't image perfectly prepared for this so it's going to be kind of winging it a little bit, which I'm sure you'll be forgiving if it doesn't come out as expected, his is one of the things like he doesn't really have a lot to many problems. He has good skin here. This is one of my friends in case you're so what I'd like to do is I like to create a mosque, but not a mask in the tournament. Last international mosque. So what a lot of people do when they blur the skin, they tend to, like, go back in and they blew the eyes, they blew everything, you know, you have to mask it out, so he is a little tip that I do a lot is when I do this I should know thinking that I'm trying to think of it, I have a better image for this, but this work so one of the things that all people have to go to the channels here, all skin turns, the meta watch skin tone it is every skin tone has written in it, so red is of the primary color, you know, from from the skin. So what we do is we hit the come on key, and I click on the red channel, so this is kind of, like, similar to what I did with that highlight thing when I did the dreamy glow and then in the layers by doing that hit command, jay, and what it does is actually creates a mask of the mosque and on I can hit j a couple more times to start to build it up. So that way, you know, didn't work great on it emits, but, you know, you can tweak it, obviously, but that way what you do is you can actually go there, and he has to like the skin at that point and let me just merge those together and at this point now I can do whatever I want if I'm doing the whole blur thing and I want to create a special effect and I see how the eyes are blurring you know that isis staying sharp no matter what I do I mean you don't want to believe people skin like that but um so if you just want to add a little bit of a blur and in throat until like maybe an overlay mode to create a kind of a cool effect whatever um we don't have to mask the eyes out because I did that by selecting the right channel I mean the whole skin techniques is a whole class in itself but that's that's just like a little little one of my little tips the other thing I like to do is I take these and our public into different layers and I call them like a skin sandwich and what I do is I'll put them in different blend mode so he's blamed most cancels out each other and then you can adjust different attributes of the skin separately that that's you know I could spend an hour on it but anyone uh no question another question colin hasn't illustrator do you find that you use photo shop and this is asked by guest fifty eighty d's photos up to do your vector work or do you do the majority of that an illustrator that's a good question should do it an illustrator illustrators definitely the best place for the effective stuff um I use illustrated but I mainly honestly I mainly use illustrate for logos and stuff I used effective tools and photo shop just because I when I do is that these two types of let me let me clarify two times of illustration one is I'm doing a job for a client I'll do whatever what do the quickest way to get a diamond doesn't really matter but then when I'm creating a one hundred percent photoshopped piece which sometimes I do there's other ones van I refuse to go out of photo shop so like the guitar in the camera and the reagan that was one hundred percent only using the tools of photo shop not using anything third party plug is now using photos not even using the the three d features and that's just kind of like I don't it's like a game for me is like there might be other tools that could do the other parts better but I just like to stay in photo shop and just use forceps tools cool thank you thank you and we have another question from the internet from frank german when I cannot this guy from a photo put it on a new layer and apply in motion blur just on the sky it often creates some artifacts near the edges of this guy to have any ideas on how to avoid those artifacts yes create a selection first before you blurt created selection on the area shrink it down a little bit, because you can choose the select contract, contracted, then invert this election, and then you're blurring it. So you blew the area outside of this election, said the area underneath the area you're doing is not is un selected and it's not going to bleed on this edges? Great thing calling. If you have a new tool that you would want to introduce to photo shop, what what would that, what would that tool? The, um, well, I mean, coffee told wanted tio.

Class Description

Learn some of the Best-Kept Adobe® Photoshop® Secrets for amazing image results. Learn the most in-demand techniques that will make your work look current and cutting-edge. Here is where everything comes together and you experience that extra "something" that will elevate your imagery above that of the masses. Special effects, color treatments and other Adobe® Photoshop® Secrets are what this session is all about. This class will send you on your way with a full tank of creative juice. You will learn some great techniques that will shave hours off the way you have done things in the past as well as opening up a world of creative expression. Don't worry, all these techniques are as practical as they are eye-popping!

This class is part of the series of other amazing Photoshop tutorials

Software Used: Adobe Photoshop CS6