Challenge 3: The Time Machine
Our next challenge is time machine. So in time machine, you're going to be asked to do something that would normally take the rest of us a very long time to do. And you're gonna to do it in an amazingly short period of time, which means that the first person done wins the challenge. So I'm going to ask you all to get ready and I'm gonna give you a three, oh, well I'll give you a chance to open up your images. And what we're gonna do is we're gonna watch how quickly they can do something, but can you tell us before you start, what it is you plan to do?
Okay, well, I want--
So Lisa, you're ready?
Yeah, I'll go ahead and start. What I wanna do is try to make like a Banksy kind of look without having to do a lot of channel pulling and masking. And I'm gonna use a blend of sliders to do that to show how that can be done.
Excellent. RC, what are you gonna be doing?
I'm gonna try to put together two composites of I'm gonna try to put this bird and this girl on this background using ...
Adobe's Sensei AI technology.
Excellent. And Jason, what are you gonna try to do in the shortest period of time?
So what I'm gonna do is I've got this image that is way underexposed back here, way overexposed here, and there's virtually no information, so I go to throw this cloud in here. but the client doesn't like this kind of hazy look, so I've got to separate out the trees in the foreground, put this sky in the background, and kind of get this all through in like two minutes or less.
So I can't select those trees, you know? I've just got to make it happen.
All right. And I'm gonna give you three, two, one, go. And here, we get to watch 'em. You have three minutes to accomplish this task.
So do we get to talk about what we're doing?
If you would like, yes.
If it won't interrupt your process.
It looks like, right now, you're adding contrast. Are you just trying to find the information?
Yeah, I'm just going into the channel. I just duplicate the channel here. And then, this is gonna give me my selection when I go back to my layer here. So by going into the channel, the one that has the most contrast, I can just give me a little bit more contrast in that channel by duplicating it. And then, I can easily go in here and get that selection and do a quick little curves here, where I can just go ahead and give it a little bit more contrast in here, the quarter tones right there, kinda boost that up a little bit and just--
So you're only adding contrast to the stuff back in the background.
But not to those things in the foreground.
Yeah. And then, what I'm gonna to do is I'm gonna come in, click on that mask as well because going in and using my selective color allows me to go in and grab kinda the blues that are pretty much the problem here. And I can warm those up every so slightly to get a little bit more in there. And one of the nice things about getting something like this is if I don't get the right amount of contrast, I can always go in here and I can always duplicate one of the adjustment layers to get a little bit more intensity. And then, here with my cyan and my blue selective color on top, I can go in here and kinda dial back the intensity of this whole thing right here. I still have a little bit of issue with this, so I'm just gonna--
No, you need seconds, holy.
All right, Lisa, what are you doing real quick?
Okay, so all I'm doing is playing with this--
You're done? RC wins.
I think I'm done.
There we go.
I'm gonna say I'm done, too.
Oh, are you done, too?
I would call this done, too. So what I did is these really, I love these blend of sliders. When you use these in Photoshop, what you do is you hold the Command key down and click here and you can change the underlying layer and the top layer and it allows you to get your files, your images visible. Do you see how it disappears?
So why you want to do that is, I'm gonna just cancel out of that for a second, especially in my industry, is we're forever having to move stuff. So let's say I have to put a different wall or move something. I don't have to worry about the figure. I don't have to re-channel pull it or anything. There's no mask.
It's like a constant mask.
It's a constant mask, exactly right.
It's an ever-present mask.
And when you're doing build-outs in entertainment or you're doing boxes or you're doing letter and you have to move stuff, this way, it's all ever-flexible. And then, I can change the character. I can just pick a new character and change him. So let's say--
I'm 30 seconds, I'm hurrying.
Oh, that's all right. We're already done. RC already won the challenge.
Oh, okay. Oh, he scared me there, all right. So, yeah, so let's say I wanted to, I'm just gonna, just for giggles, put a X on this guy, you know, some kinda x, whatever, on him. And then, I save it or I can do another character. So there's gonna be some TV shows coming out that you'll see artwork and you'll see different characters for this, on a wall, all graffitied out.
And it's the same--
And this is the technique and it took minutes because once you have the setup, you're done.
Blend if's, they're the best.
That's really great. What did you do RC?
The only the only thing that I was working on is basically just kinda compositing. A lot of the times I tell people making selections around things is something that's really hard and it takes a long time.
That's probably the longest thing that, when you're doing any kind of Photoshop work, that takes time. But a lot of work has gone in by the folks at Adobe to be able to make this a lot easier, so time, time, time, time, time, time. One of the things that people don't know about, I don't know why, but there's this area called Select Subject, right? Which uses Adobe AI, like it's actually using AI technology to be able to just go, all right, well, it's gonna go out, find the subject of the picture. Once it finds it, you're done. Then from there, select a mask and you're done. Now, you can add more stuff and remove more stuff, but that's stuff that continue, took the time--
And fuss around with the.
And fuss around with it, you can work with decontamination. You can smooth out specific selections and then, you're done there. And I'm like, all right, well that's cool, but then, what if you do it here? How do you work with this when you have hair? Well, all right, well, the same situation. Let's just go inside of here. Let's go to Select Subject. Grab the same spot, like where I'm concerned about, wisps of hair. I'm gonna go over here and go to select a mask and I'm done. Now, there's some areas that are green in there, so I want to be able to work with some of that decontamination that you have inside of there, right? And I'll have to pull some of that out. And if this is a mess, I could still kinda go in here, make this brush a little bit bigger. Just kind of go into this one area.
This is one of my favorite things.
And that's it.
Is painting over hair and seeing like little.
Right and that's it.
Individual hairs come back.
The Select Subject is a fantastic tool.
It is a fantastic tool.
I mean, it is absolutely awesome.
And then, so one of the other things that I did from here, though, is once you had this. I mean, I didn't really want it for like that. But it was just--
Did you put it on her shoulder? You should have like put it--
No. That would have been cool.
Like a parrot.
But if you set this up, right, in this manner, I mean, I can go in and actually put lighting that matches it a little bit better. But the idea here was to be able to take this sands picture, turn it into a smart object, so that I can run smart filters against it, so that I could have a blur. And if I decide that the blur is not enough or too much, I could always go back in at any point in time. And make adjustments
Make it look a little bit real.
So, that's it.
Very good. All right, I'm gonna give the prize, even though RC was finished first, Lisa's was actually the coolest looking. So there you go.
Oh, I thank you. (audience applauding)
Good job, girl.