If you are a podcast
subscriber...PLEASE
RE-SUBSCRIBE.
We had to change hosting companies... you'll find
that we've posted a BUNCH of new episodes in
iTunes. We have 72 new episodes in the can... so
don't miss out!
Have an old font that's not working right? Maybe
it's PC-only and you're on a Mac. Here's a free
service to convert fonts –
FreeFontConverter.comallows you
to quickly convert between many font formats
without the hassle of installing any software
on your computer. Our service works on any
operating system including Windows, Mac and
Linux. Our font converting service works for
all of the common font formats including
TrueType (.ttf), OpenType (.oft) and
PostScript (.ps). We can also convert many of
the less well known font formats including
Suitcase (.suit) and Data Fork (.dfont) fonts.
Thanks toRod Harlanfor pointing
this one out.
You can choose from five
different layout options when creating a
panoramic photo with the Photomerge command.
Each method interprets the panoramic photos
differently.
Auto:With this method,
Photoshop first analyzes your source images. It
then applies either the Perspective,
Cylindrical, and Spherical layout option.
Photoshop attempts to choose which method to
use that will produce a better
photomerge.
Perspective:This method
creates a composition by designating one of the
source images as the center of the panoramic
image. Photoshop generally picks the middle
image, then transforms the other images around
it. Photoshop will stretch and skew images as
needed to overlap the layers and blend them
together.
Cylindrical:The cylindrical
layout option works best for creating very wide
panoramic images. The source images are
overlapped in a way that looks like an unfolded
cylinder.
Spherical:The spherical
option is best-suited for 360 degree panoramas.
The images are mapped to the inside of a sphere
and can create a seamless image for use in
specialty applications like multimedia or
animation.
Collage:This method only
changes rotation or scale in order to overlap
the content.
Reposition:This method only
changes the alignment of images, but does not
transform (stretch or skew) any of the source
layers.
A while back I made an action
that is designed to create a seamless loop for
properly shot 360˚ photos. People seem to be
unable to find it (as its the number one search
result for my site). So here it is again.
In the rush to design,
many motion graphic artists skip the
advanced controls inside the Material
Options category. These are essential as the
refine how a 3D light interacts with your 3D
layer. The properties that affect appearance
the most are Diffuse, Specular, Shininess,
and Metal.
The only changes made to the
scene above were modifications to the Material
Options. No other settings with lights were
modified. The Material Options are powerful
controls that are often overlooked. When you're
first exploring Material Options, try lowering or
raising their values one property at a time.
To start,
drop all of the values to 0% to remove the
effect of the lights.
Next slowly
increase the Specular value. This will add a
hotspot to your layer (it may get quite blown
out). This value controls how reflective the
layer is. The bigger the number the brighter
the reflection.
Raise the
Shininess property which will cause the light
to show specular highlights. The bigger the
number the smaller the highlight.
Use the
Diffuse property to soften the results
generated by the Specular and Shininess
properties. This will soften the transition
between lights and darks.
Raising metal
property will lower the color distinction
between the darker areas and the highlight, but
the highlight will still be brighter. It also
affects how much the layer's color influences
the color of the reflection.
The revolve command
can take a vector line and sweep its path into a
circular direction. This can be used to create a
3D object. For best results draw your line facing
with its curve pointing to the right (the lines
are anchored on the left edge). Once the object
is created, you can reposition it with the same
Position controls found in the Bevel and Extrude
effect.
1. Select an object or line
inside of Adobe Illustrator.
A line or a shape is all you
need to create a 3D object. By default, the
extrusion will rotate around the left edge so
position the vector object accordingly.
2. Choose Effect > 3D > Revolve.
Check the Preview box so you can see the effect
update as you make changes.
With the Preview box checked,
changes will update so you can experiment more
easily. For complex objects, the screen may take
a moment to redraw.
By default, Illustrator revolves objects around
the left edge. You can change this to the right
edge using the from pop-up.
3. If you object has a fill, you can use the cap
command to make it appear solid or hollow.
4. Use the Angle property to
set the number of degrees to revolve the path.
While you can use any number between 0 and 360, I
typically start with 360˚.
With the Preview box checked, changes will update
so you can experiment more easily. For complex
objects, the screen may take a moment to redraw.
You can use the Offset slider to expand the path
to create a ring-shaped object.
If you experiment with this
effect, some pretty cool options are possible.
Try using a dashed line and creating an irregular
path. In this case a basket shape is possible and
you can create abstract 3D objects for motion
graphics work. Technique adapted fromRC
Concepcion.
Things can get
tricky when you start to layer 2D and 3D layers
in the same timeline. As a designer, you need to
understand how After Effects interprets things so
you can build your compositions correctly.
When working
in 2D, the highest layer in the Timeline is in
front of all the other layers. The lowest layer
is behind them.
3D layers are
stacked based on their Z‑position value
(assuming the camera is pointing at their
fronts). This means that the object closest to
the Active camera is in front of the other
layers. This is true even if the layer is at
the bottom of Timeline stacking
order.
Track and
Alpha mattes must always be immediately on top
of the layer they are matting. This is true for
both 2D and 3D layers.
Layer blend
modes still follow the stacking order in the
Timeline.
2D layers
mixed with 3D layers are ordered by their spot
in the Timeline stack.
If two or
more 3D layers have overlapping
z‑position values, After Effects uses
their Timeline stacking order to determine top
position.
If you want to keep a logo bug or other element
always on top of your 3D layers it's easy. Just
place the element on the topmost layer in After
Effects and don't enable the 3D switch. You can
also do the same for a background layer that you
want behind all your 3D layers. Just put a
standard 2D layer at the very bottom of the
timeline.
From the new Adobe Press book –Motion Graphics with Adobe
Creative Suite 5 Studio
Techniques
One of Photoshop’s
greatest powers lies in its ability to
preserve complex transparency. By employing
masks, both in layers and embedded into the
saved files as alpha channels, this
transparency data can travel seamlessly into
the nonlinear editing (NLE) or
motion-graphics environment.
As a motion graphics designer, you'll use After
Effects, Photoshop, or Illustrator to some degree
in every project. But how do you decide which
tool is best for the job and how can you use them
together for the most efficient and effective
workflow?
This workshop cuts to the chase and teaches
advanced techniques for all three applications
(no matter what your experience level is with
each). You'll learn essential techniques
including typography, repairing and retiming
footage, stylizing footage, background design,
and 3D objects.
Learn how to integrate After Effects, Photoshop,
and Illustrator for an efficient and effective
workflow. Topics include:
Pixels and
Vectors: Mastering Resolution
Typography
for the Screen
Repairing,
Stylizing and Retiming Footage
Perfect
Loops: Designing Backgrounds
Creating and
Importing 3D Objects
Check Your
Sources: Organizing Files for
Animation
Mastering
Transparency: Perfect Masks and Alpha
Channels
Instructor Richard
Harrington discusses how the fade command works.
It is available on all versions of Photoshop, and
is considered a very flexible tool.
Many don't realize
that they have the ability to add multiple
cameras to a 3D composition. This makes
experimentation easier as you can try out
different camera moves without throwing the
previous away. As you design, you can look
through any camera you want with the 3D View
Popup.
You can trim the layer
handles for the camera to control when a
camera becomes active.
The gotcha is that only the Active Camera will
render. Which one's active? The answer is it
depends:
If you have
two overlapping cameras, the one on top of the
layer stack takes precedence.
• If you want to edit between cameras,
you can adjust the in and out points in the
timeline. Then sequence the camera layers so
you can cut between them.
While working
onmy latest Photoshop
book, I did some
research on Actions. I was looking for some
new examples of actions that push the
boundaries of what Photoshop can do. I came
across several beautiful actions created
byPanos FX.
From postcards and
filmstrips to paper and sketch effects. These
actions are great, they produce powerful results
and are flexible enough to create several looks.
The website has more than 30free actionsand the
powerful ones for sale are very affordable. Be
sure to check out their many products to build
up your Photoshop toolbox. If you did pick up
the new book, be sure to look on the DVD for
some additional free actions.
"Learning how to spot problems in your images and
then choosing the right correction technique is
an essential part of mastering Photoshop. Richard
Harrington describes the most important tools and
shows you how to use them to make the best color
correction and enhancement choices.
The primary purpose of Photoshop is to act as a
digital darkroom where images can be corrected,
enhanced, and refined. How do you know an image
needs touch-up? You can pretty much assume every
image can look a little (or even a lot) better
than how the camera captured it. Whether
it’s adjusting the exposure, increasing
contrast, or boosting saturation, Photoshop is
the place to improve an image."
After Effects supports
scripts which can automate complex tasks.
One of those scripts can actually render a
file then email you upon completion. If
you’re a tech geek, the gears in your
head are already spinning. Just think, the
leash has been cut! You are free to leave
and relax while your machine churns away.
Open up your
General Preferences and be sure that the Allow
Scripts to Write Files and Access Network box
is checked.
Add your
files to the Render Queue like
normal.
Choose File
> Run Script > render_and_email.jsx, you
will now be prompted for your email
settings.
Enter server
smtp address: such as mail.mac.com, click
OK
Enter the
reply to address: such as the email you want to
use to send the message.
If your
server required log-in (most do), click YES and
enter your ID and password. Click
OK.
Enter the
recipients email address. Click OK
An email with
the subject AE Render complete will be sent
when the queue is finished.
How cool is that?
If you have an iPhone... you can also checkout
apps likeLogMeInandiTeleportto actually view
(and control) your screen from your mobile
device. I've actually set up rendered files
and sent them viaYouSendItto clients
remotely.
Here are two quick tips to
give you more control when you need to stop
or re-render an item in After Effects.
A Better Stop
Normally when you click Stop on an item in the
render queue, it adds it to the bottom of the
list and will pick up where it left off. That may
be what you want, but often you intended to bust
the render, tweak it, and re-render. To stop a
render and re-queue it to begin at the beginning,
hold down the Option (Alt) key when clicking Stop
Render. This will avoid the pickup and add the
item to be re-rendered from the start of the
original output settings.
Need to Re-render?
For one reason or another, it
always happens, the need to re-render. Perhaps a
small tweak to a keyframe or a timing issue.
Chances are while your animation may have needed
refining, the render queue was perfect. Save
yourself some time and Re-queue that animation.
Select a
previously rendered animation.
Press Command
+ Shift + D (Control + Shift + D) to duplicate
the render item with the same settings and
output name. This will rewrite over the
previous file to the exact same
destination.
Save your
work, then click Render when ready to
output.
If you’re a
Photoshop enthusiast or professional, you
should really be using Photoshop actions.
Photoshop is an extremely efficient program,
but you’re truly missing out if you
don’t learn how to use its automation
features.
Photoshop Actions record a series of commands for
playback on future images. They can be used to
generate extremely complex results. Actions
should seem pretty appealing, let’s learn
how to create your own.
You must first create a set to hold your personal
actions. Sets hold actions, and there’s no
limit to how many actions can be placed into a
set or how many sets you can load. Let’s
give it a try.
See the full article here for
free
Learn how to create Timelapse movies with your
DSLR camera and Adobe After Effects. Join Richard
Harrington as he shows you how to create pans and
zooms while controlling the speed of the shot as
well.
From the book and DVD "From Still to Motion: A
photographers guide to creating video with your
DSLR."
Explore options for creating and
working with video from your camera, from
practical shooting techniques and essential
lighting to easy editing strategies and online
sharing.
Instructor: Richard Harrington
Time: 01:00pm-06:00pm
Price: $199
One of the easiest
ways to create seamless backgrounds is to use
effects within After Effects. The Cell Pattern
effect generates a loopable pattern based on
cellular noise algorithms. With 12 patterns to
choose from and several controls over size,
contrast, and speed, you'll find the effect very
versatile
1. Choose a method from the Cell Pattern pop-up
menu. Some patterns are sharp and angular while
others are more organic. Experiment as you can
change methods at any time.
Here are three of the
twelve cell patterns. From left to right,
Plates, Pillow, and Tubular.
2. Adjust the contrast of the effect to create
the desire pattern. You can use the Invert
checkbox to swap values of luminance. The
Contrast/Sharpness slider modifies the overall
detail level of the cells.
3. Modify the randomness of the cells with the
Disperse slider. The lower the number, the more
uniform the pattern. If you increase Disperse
above 1.0, be sure to set the layer to Best
quality.
Different Disperse values
were used to modify the Cell Pattern. A
value of 0 creates a uniform shape.
Increasing the value to 0.50 adds more
randomness. A greater value of 1.50 starts
to create very irregular shapes.
4. Adjust the size and position with the Size and
Disperse sliders.
The key to making an animated background is the
Evolution option. As you animate evolution, the
pattern will change over time. By default,
revolutions are progressive, which means each
cycle is an entirely unique value. There is a way
though to create a seamless loop point.'
5. Under Evolution Options, check the box next to
Cycle Evolution. This will ensure that a
revolution for the Evolution slider makes the
pattern repeat.
6. Add a keyframe near the start of the
composition for Evolution for 0x and one at the
end for a full number (such as 2 x). By using
full rotations, you'll create a loopable pattern.
Using full rotations with
the Cycle Evolution option enabled will
create a loopable pattern.
Tip: Want a
Different Looking Background? Randomize it
You
can get a different pattern by changing the
Random Seed slider. Do not keyframe this value;
rather drag to choose a different starting
pattern. You can also adjust the Size or Offset
settings.
7. To create a richly layered background, blend
multiple layers with the Cell Pattern effect
applied. You can stylize the background with the
Colorama effect and a vignette as well.
Stacking multiple
instances of the Cell Pattern effect can
create depth and visual interest.
Download the file here –www.richardharringtonblog.com/downloads/Cell_Pattern_Noise_BG.zip
DATE: Friday, June 25TIME:
4:30 – 7:30 pmLOCATION:
Manhattan Center Hammerstein Ballroom 311 West
34th Street New York, NY 10001PRICE:
FREE – Bring a Friend!* You must sign up in
advance here –www.photoshopuser.com/cs5nyc
A common problem
with old black-and-white or sepia-toned photos is
that they fade over time. You can use a Levels or
Curves adjustment, but both commands often
introduce color artifacts into the image. A few
extra steps are needed to get the best results.
1. With the Eyedropper tool, sample the color
tint if you want to retain it in the finished
piece.
2. Leave the photo in RGB mode but strip away the
color. Choose Image > Adjust > Desaturate
or press Shift+Command+U (Shift+Ctrl+U).
3. Perform a Levels
adjustment and restore the white-and-black
points. Drag the black Input Levels slider
and the white Input Levels slider toward the
center.
4. Add a Solid Color fill layer by choosing Layer
> New Fill Layer > Solid Color. Click OK.
The Foreground color you previously sampled will
load automatically.
5. Set the Color Fill
layer to use the Color blending mode. Adjust
the Opacity slider as desired.
By their very
nature, lenses add distortion to the images they
capture. I've posted anew tutorialover at
TipSquirrel.com that addressed how to fix lens
distortion for both stills and video.
“One of the commands in
Photoshop CS5 that received a major makeover is
the Lens Correction command. It’s no longer
buried, rather it sits proudly near the top of
the filter menu. Adobe now ties the filter to
specific lenses in the file’s metadata. You
can even create your own lens profiles with a
great utility. Visithttp://labs.adobe.com/technologies/lensprofile_creator/for full
details.”
I
am releasing the Understanding Adobe Photoshop
– Creating Panoramic Photos
iPhone/iPod/iPad application for free through
June 4. Please spread the news to all your photo
friends. Until June 5... we are giving
this application away for free. Learn how to
create breathtaking panoramic photographs using
Adobe Photoshop® and your digital camera. This
innovative application combines the latest in
knowledge and technology to accelerate your
learning.
Includes 15
training videos edited specifically for the
iPhone or iPod Touch. Offers easily
viewable screens, with zooms and close-ups of
the action.
Every lesson
includes hands-on files that you download to
your computer. There’s no need to
merely watch, you can try out every technique
on your own.
Test your
knowledge with interactive quizzes. Score
yourself as well as check your answers with
video responses.
Search
throughout the application by keyword and your
own bookmarks.
A quick
reference guide is also included to help build
your skills.
Interact with
the trainer with comments and a Twitter client.
Additionally a quick reference guide for
shooting panoramic photos is included for quick
reference in the field.
TO SWITCH
VIDEOS – SWIPE YOUR FINGER ACROSS
THUMBNAILS If
you like it, please consider a small donation to
the Pancreatic Cancer Action –http://www.pancan.org/
in memory of Marilyn Marlowe.
If
you missed the free e-seminar on using Adobe
Creative Suite for DSLR video, you can check it
outhere. We cover
Premiere Pro, After Effects, Photoshop, and
Bridge. Be sure to check out the part on using
Photoshop to color grade video files
nondestructively.
I'm also amazed at
Premiere Pro's ability to handle native DSLR
video with no transcoding or rendering (good
stuff!).
We focus a lot on
DSLR video, but all video pros and photographers
will learn something. You can watch the class
here online (give it a minute to load).
Get the free
Photoshop CS5 Knowledge Panel for a bunch of cool
free tutorials built right into Photoshop CS5.
Choose Window > Extensions > Knowledge to
open it.
Here's why you need it.
It's totally
free
It's
interactive with cool controls
A bunch of my
tutorials are in there on video and
animation.
"Sometime in
the last 48 hours, your copy of Photoshop CS5
quietly sprouted some new functionality. We hope
you like it, and we'd love to get your feedback.
Adobe is now delivering the Knowledge panel for
Photoshop. This tool delivers interactive
step-by-step guidance, walking you through some
70 tutorials written by expert authors. Unlike
other tutorials, these can drive Photoshop:
clicking links executes commands in PS (e.g.
clicking "File->New" brings up the New
Document dialog box)."
Learn more here –http://blogs.adobe.com/jnack/2010/05/the_knowledge_panel_arrives_in_photoshop.html
Thanks to Victor Gavenda at
Peachpit and John Nack at Adobe for doing this.
Sample motion graphic created for The Johnson
Group's documentary, Bedford: The Town They Left
Behind. The film went into limited release in
theatres across the country.
I am working up some new tutorials on the
techniques... leave comments about what you want
to see.
Check out the latest show on Peachpit TV:
Photoshop in 5 with RC Concepcion. NAPP
instructor & Adobe Certified Expert in
Photoshop Rafael "RC" Concepcion gives 5-minute
tutorials in Photoshop on topics including the
Type panel, Soft-proofing, Brush-based tools,
Channels, Adjustment and Mask layers.
Learn about all three content aware tools in
Photoshop CS5. Easily remove objects and
blemishes with just a few clicks. From the new
book Understanding Adobe Photoshop CS5 by Richard
Harrington.
How do you
take a great still photo with your
video-enabled DSLR camera? That's easy,
shoot in photo mode. You'll get the best
quality and even the option of using a raw
format. But what happens if you've got the
perfect shot, except you're in the middle of
recording a video clip? The good news is
that you can export stills directly from a
piece of video. There's just a few
limitations.
Resolution
limitations of video
You might be thinking to yourself “Isn't
video really low resolution?” Yes, when
compared to the native size of photos taken with
your DSLR, video pales in comparison. But for
many uses, such as web or newspaper, you can get
enough pixels out.
Currently the highest resolution you’ll get
exporting a still from a piece of video that
originated on a DSLR is 1920 x 1080 or approx 2.1
megapixels. While you aren’t going to make
any panoramic prints of those frames you can
still find a lot of great uses for them. If
printing at 300 ppi, you can extract a frame that
is about 6.5 X3.5 inches – in fact a lot of
the figures that you’ve see in this book
are from video clips.
Read
More...
Working
with DSLR Video with Adobe CS5 Production Premium
Wednesday,
May 26, 2010
—
10:00 AM - 11:30 AM US/Pacific Thanks
to their exceptional image quality, low-light
capabilities, and the fact that you can shoot
using standard 35mm DSLR lenses that give your
footage the look of expensive film-based cameras,
DSLRs are finding their way into video
productions at all levels.
Join
Richard Harrington, co-author of From Still to
Motion: A photographer's guide to creating video
with your DSLR. He'll explore the options
for creating and working with DSLR video in CS5
Production Premium which includes Adobe
Photoshop, Adobe Premiere Pro, and Adobe After
Effects. You’ll learn everything from
practical shooting techniques and essential
lighting to easy editing strategies and online
sharing.
You’ll also be introduced to the latest
Dell Precision workstation and NVIDIA Quadro
graphic solutions to help you make the best
decision to outfit your editing needs –
including taking advantage of the latest
performance improving updates in CS5.
My new Photoshop CS5 book (okay I actually
have 2) is about to go to press. It's 100%
written and laid out. This is a great book if
you’re self-taught in Photoshop or for
classroom use. Instead of getting bogged down in
every feature, I strip the application to the
core skills you'll need to work professionally.
The book is ready to order and will
ship soon. As a bonus, it also includes 6.5
hours of training videos.
Photoshop is the foundation of every digital
career. Many users think they know it, but in
truth they have gaping holes in their training.
This book covers what a professional truly needs
to know about Photoshop. For students this book
offers a chance to explore the program
interactively. For professionals it provides a
chance to add to your skill base. The book cuts
though the clutter and is unique, focusing not
just on digital photography, but also the Web,
graphic design, multimedia, and video.
Readers will learn the basics in correcting,
editing, sharpening, retouching, and presenting
photos as well as work on specific
projects/exercises. Coverage of exciting new C5
features includes: Puppet Warp, Refining Edges,
Eyedropper tools, Merge to HDR, Content Aware
Fill/Scale/Heal, 3D Text, and Lens Profile.
The full-color book includes a DVD with hand-on
exercises and practice images as well as 72 new
video training tutorials that expand the on the
lessons in the book.
With the move to CS5,
many Adobe apps require a 64-bit operating
system. What this means is more speed and a
greater ceiling for memory. It also means
you'll need to update your plugins.
Here's a definitive list on the state of
After Effects plugins right from Adobe.
After Effects CS5 requires 64-bit plug-ins as
well as a 64-bit operating system. As plug-in
developers release 64-bit versions of their
plug-ins, we will list them here. Most plug-in
developers are working on 64-bit versions of
their tools, and many have announced that their
plug-ins will be available at or near the time
that After Effects CS5 is available. Check
this pageoften for
updates.
Richard
Harrington, a trainer for Future Media Concepts,
explains a new adjustment in Photoshop CS4 called
Vibrancy. He discusses how to use this tool to
boost color without making it look flat.
Is
Photoshop CS5 driving you nuts with missing
or broken system plug-ins. Here's straight
answers of what Adobe took away.
Plug-ins
available via web download
Some plug-ins that were available
for previous versions of Photoshop are no longer
available for CS5. Others are available as a web
download.
• For Mac OS: http://www.adobe.com/support/downloads/detail.jsp?ftpID=4687
• For Windows: http://www.adobe.com/support/downloads/detail.jsp?ftpID=4688 Plug-ins
supported in 32- and 64-bit Windows, and only
32-bit Mac OS:
Lighting Effects
Extract (Use Refine Mask under the Selection
menu)
Variations
Web Contact Sheet II (Web Photo
Gallery)
Layer Comps to WPG
PatternMaker
PhotoMergerUI
Picture Package
Embed / Read Digimarc Watermark
Firewire
Firewire DLL
Plug-ins
no longer supported in Photoshop CS5:
Filmstrip format. Previous versions will not
work in Photoshop CS5
Texture Fill
Plug-ins
supported only in 32-bit Windows and Mac OS:
Normally,
you'll want to run Photoshop CS5 as a 64-bit
application to get the best performance.
Unless you have a plug-in that doesn't work
in 64-bit. Then you can relaunch and "dumb
it down" a bit. To run
Photoshop CS5 on Mac OS as a 32-bit application:
Select the Adobe Photoshop CS5 application
file, installed by default in the
Applications/Adobe Photoshop CS5
folder.
Choose File > Get Info, and select Open in
32 Bit Mode.
Deselect this option to run Photoshop CS5 in
64-bit mode.
To run
Photoshop CS5 in Windows as a 32-bit application:
Close Photoshop CS5.
Navigate to the Program Files (x86) > Adobe
> Adobe Photoshop CS5 folder..
Double-click the Adobe Photoshop CS5.exe
file.
To run
Photoshop CS5 in Windows as a 64-bit application:
Close Photoshop CS5.
Navigate to the Program Files > Adobe >
Adobe Photoshop CS5 folder..
You can also use the Hue/Saturation command to
tint an image. If you are working with a
grayscale image, you need to convert it to an RGB
image first.
1.
Open an image you want to process.
2. Add a Hue/Saturation adjustment layer.
3. Click the Colorize box to tint the image.
4. Adjust the Hue slider to try out different
color combinations. Adjust Saturation and
Lightness to refine the tint.
The adjustment layer automatically has a Layer
Mask attached, which allows you to mask the
effect.
5. Click the Layer Mask icon for the
Hue/Saturation adjustment layer.
6. Select your Brush tool and press D to load the
default colors of black and white.
7. With a small black brush, paint the areas
where you want the original colors to show
through. so the original red shows through. If
you make a mistake, you can press X to toggle
back to white for touch-up.
This tutorial comes from the book, Understanding
Adobe Photoshop.
I've released anew tutorialover at the
TipSquirrel.com website. Learn all bout how to
crop your photos. Before you think you know
all about cropping, consider these points.
The last chance to save $100 on Photoshop World
is tomorrow. The Early Bird offer is a great
deal. I'll be teaching several classes, including
a pre-conference session on DSLR Video as well
several motion graphics classes.Here’s the
link.
When scanning images,
it’s often possible to fit more than
one image on the scanner bed. Scanning
multiple images at once can save input time
when loading images into Photoshop.
Fortunately, the Crop And Straighten Photos
command picks up and keeps the efficiency
going.
Scan several
images at one time. For best results, you need
to keep 1/8 inch between the images in your
scan.
2 If you’re working in a multilayered
image, select the layer that contains the
images.
Choose File
> Automate > Crop And Straighten
Photos.
Each image
should be cropped, straightened, and moved into
its own document window.
In this documentary, the founders of Adobe
Photoshop - John Knoll, Thomas Knoll, Russell
Brown, and Steve Guttman - tell the story of how
an amazing coincidence of circumstances, that
came together at just the right time 20 years
ago, spawned a cultural paradigm shift
unparalleled in our lifetime.
The fine folks over at the
National Association of Photoshop
Professionals offer up two great things to
celebrate Photoshop's 20th anniversary.
First,
take their (tough) quiz on Photoshop history.
"The quiz is
just for fun, of course, but it’s harder
than you might think."
If you’ve got a couple of minutes,click
this linkto take the quiz
and see how you do.
Second,You
can virtually attend the Live Webcast of the big
party/presentation/Photoshop love-fest happening
this Thursday night (the 18th) in San Francisco
celebrating the 20th Anniversary of Photoshop.
(1) You sign up here (it’s free):http://www.photoshopuser.com/photoshop20th
(2) The Live Webcast starts at 7:30 pm Pacific
Time (10:30 EST).
(3) There are some VERY special guests making an
appearance that night.
Photoshop is about to turn
20 years old... yet it seems like yesterday
when I had to run it off a floppy disc. The
fine folks over at Webdesigner Depot
offer20 Years of Adobe
Photoshopwith some great tidbits and
history.
"The first version of the
Photoshop splash screen features just four
Photoshop programmers. In subsequent versions,
more and more names are added to the list. In
more recent versions, a limited number of Adobe
VIP’s appear in the splash
screen."
You should also check out this great interview
with John Knoll, one of the two inventors of the
application.
"OK, it’s two weeks
and one day, but you get the idea. The $100 early
bird registration deadline is coming up, and if
you want to join us in Orlando on March 24-26 for
the world’s largest Photoshop training
event, (and do it on the cheap) you can sign up
or just get more details right here (By the way:
if you’re a NAPP member, you can get a full
conference pass for only $499 using that early
bird discount)."
So... like many
I've been pretty frustrated with Flash video
lately. When you visit a site (like this blog)
with several Flash players, you can see a huge
performance hot. Turns out that Flash can' t hand
over that H.264 processing to the graphics card,
so it becomes a HUGE processor suck (and RAM..
and battery). You've probably heard about Steve
Jobs railing on it being a hog and not allowed on
the iPhone.
Well...here's a cool pluginthats free for
Mac users... it's called ClicktoFlash and its
a plugin that keeps Flash files from
auto-loading on Safari.
"Ever wanted to get rid of
the scourge of the web that is Adobe Flash, but
still retain the ability to view Flash whenever
you want? With ClickToFlash, you can! Using
ClickToFlash, all of those icky Flash bits that
have infected most webpages on the internets are
replaced with a nice, smooth gradient and the
word "Flash" set in a nice, pleasing font. When
you want to view the Flash, just click on it!
The advantages of ClickToFlash are numerous.
Since Flash isn't loaded until you specifically
ask for it, your CPU usage will stay at normal
levels when browsing the web. This has tons of
benefits: web browsing stays speedy, your Mac
laptop won't get as hot, and your Mac's fan won't
come on as often. In fact, we guarantee* that
ClickToFlash will quintuple your battery life and
that it will protect those precious parts of your
body on which you rest your laptop! (*note: not
actually guaranteed)"
You can even use the plugin to force YouTube
videos to use the QuickTIme player for H.264
playback. Just click the Gear icon and tweak the
preferences.
I recently wrote a review
for a new filter called Continuum Cartoon
Look for Layers Magazine.Here it
is.
Everywhere you turn, you’ll spot the
“look”: video footage transformed to
look like a cartoon. In a traditional workflow,
the process involves rotoscoping. An artist
literally traces animation frame by frame over
the original source. The technique was invented
by Max Fleischer around 1915, and has been used
by animators on classic films such as Snow White
and the Seven Dwarves and Cinderella, as well as
modern movies such as Titan A.E. and Waking Life.
The process is very tedious, however, so many
video pros and motion graphics artists have been
on a quest for an easier solution. These days
you’ll find several products on the market
to transform your video footage to look like
it’s a cartoon. Early options such as
Studio Artist ($379;www.synthetik.com)
and market leaders like ToonIt ($399;www.redgiantsoftware.com)
have all seen heavy use.
While they’re not new to the plug-in
market, Boris FX has released their own take on
cartoon filters. The Boris Continuum Unit:
Cartoon Look breaks out four filters from the
larger plug-in package Continuum Complete. The
set is only $199 (significantly less than
competitors) and runs in several host
applications including Adobe After Effects and
Premiere Pro, as well as Apple Final Cut Pro and
Motion. The four filters for stylizing your
footage include:
There are lots of reasons
to use Premiere Pro (even if you’re a
Final Cut Pro editor). One of the most
compelling is to organize After Effects
projects.
Create a new
Premiere Pro project and match its settings to
your primary footage format.
2 Import a folder of QuickTime movies into a
Premiere Pro project. You can even import a
Final Cut Pro XML file to bring a sequence in
without needed to do anymore media
management.
Edit the
clips as needed into sequences.
After your
clips are edited, just select them and press
Command+C to copy them to your clipboard.
5 Switch to an open After Effects project and
press Command+V to paste the clips using
Dynamic Link. The clips (with handles) will
move from Premiere Pro to After
Effects.
When digital
cameras became commercially available, the memory
cards used to store pictures were very expensive.
Photographers could not afford multiple or
high-capacity cards, so they wanted more images
to fit on a single, smaller card. Smaller file
sizes would also enable consumers who lacked an
understanding of digital imaging to attach photos
to email with minimum technical headaches.
With these two scenarios in place, manufacturers
turned to an Internet-friendly format, JPEG. It
was a proven technology, and one that was
familiar to many users. A JPEG file looks for
areas where pixel detail is repeated, such as the
color white on every key of your computer
keyboard. The file then discards repeated
information and tells the computer to repeat
certain color values or data to re-create the
image. The drawback is that a JPEG file is lossy,
so every time you modify it and re-save,
additional compression is applied to the image.
Newer digital cameras, generally the pro models,
offer newer formats, usually called raw. These
raw (or native) formats have several benefits
over shooting to JPEG. The images are usually
captured at a higher bit depth, which means that
the pixels contain more information about the
color values in the image. Most raw files have a
depth of 10, 12, or even 16-bits per channel
instead of the 8 used by JPEG. This raw format
also has a greater tonal range, resulting in
better exposure for shadows and highlights.
The image on the left is how the camera captured
a JPEG. Making adjustments to the image is
possible, but will lead to more degradation in
image quality. The image on the right is a
properly developed raw file. Working with raw
files gives you access to greater control over an
image.
The raw file captures the
unprocessed data from the camera’s image
sensor. While your camera may contain settings
for sharpness, exposure, or lighting conditions,
the raw file stores that info as modifiable
information and captures the original
(unmodified) data that came through your
camera’s sensors. Each manufacturer treats
the format differently, using a proprietary
format. Fortunately, Photoshop and Aperture
frequently update their raw technology to support
the newest cameras on the market.
Because the raw data is unprocessed, you must
essentially “develop” the image data
within Photoshop or Aperture. You can choose to
adjust several options related to the image, as
well as the lens and lighting conditions. You can
“tweak” the image after shooting it
(as opposed to JPEG, which is limited to the
settings you had when shooting).
Starting with Photoshop
CS2, Adobe introduced a new feature called
data sets. This allows you to create a set
of data that applies variable text, variable
visibility settings, or pixel replacement
for art layers. This is a great feature for
use with templates, especially those for
lower-third titles.
By harnessing the power of data sets, you can
dramatically speed up the production of
repetitive graphics. In fact, by feeding in a
text file, hundreds of lower-third graphics can
be generated in a few clicks. The advantage of
this method is that a producer or production
assistant can gather all of the needed names and
titles into a single text file (easily created
with any word processor). This file can then be
loaded to generate as many graphics as needed.
While the process is a little tricky at first,
it’s pretty easy to get the hang of.
Read the complete article over
at Layer Magazine for
free...
Brush strokes,
cloning, and most manual tools from the
toolbox do not record properly with
actions. Instead, use an alternative,
such as a Gradient Fill layer (Layer
> New Fill Layer > Gradient)
instead of the Gradient tool.
• To play a single step of an action,
double-click it.
• If you make a mistake in an action,
click Stop. Delete the incorrect steps by
dragging them into the Actions panel’s
trashcan. Choose Edit > Step Backward as
many times as needed. Then click Record and
start again from the last good point.
• Button mode lets you launch actions
quickly—just click an action and it
runs. You can access the command from the
Actions panel submenu. You’ll need to
disable Button mode to access recording and
editing features.
• Choose Playback Options from the
Actions panel submenu. Specify that you want
the actions to play back an action
accelerated. Photoshop can process faster
than it can redraw the screen.
• Be sure to back up your custom
actions to two locations: the default
location and a secondary backup location.
This way, a reinstall or upgrade won’t
blow away your custom actions.
• To create an action that will work
better on all files, set the rulers set to
measure using percentage.
• Use File > Automate > Fit Image
to resize an image for a specific height or
width.
One misperception we hear time and time again is
about resolution. For the record, video graphics
are not 72 dpi. First off, dpi stands for dots
per inch (as in printing). Photoshop measures
graphics using pixels per inch (ppi).
The resolution of this photo has been reassigned
from 300 ppi to 72 ppi. The Document Size (in
inches) has changed for printed output. The pixel
dimensions and file size remain unchanged at 1920
x 1080 pixels (for a 1080 HD video project).
When dealing with video graphics, resolution
doesn't matter. The same HD video file can play
back on a laptop, a television, or on a digital
projector, and the total number of pixels won't
change. To see this clearly, stand really close
to a big-screen HD TV; the picture looks soft.
Now find a smaller display with an HD signal; the
picture looks clearer. This is because HD is HD;
the bigger the screen the larger each pixel is
displayed, but again resolution doesn't change.
Figure 9.2 The enlarged area shows the individual
pixels that make up the butterfly image.
Setting Photoshop to Measure in
Pixels
Out of the box, Photoshop is set up for a print
workflow (biased isn't it?). This is easy to fix
with a simple preference change. You can set
rulers and other tools to measure using pixels by
default (which will make designing for the video
screen easy).
Launch Adobe Photoshop.
Press Command+K to call up your Photoshop
preferences.
Adobe Bridge has
lots of uses; this video looks at five of its
best: Contact Sheets, Web Galleries, Ranking,
Reviewing, and Browsing Animation Presets. You
can also visit the websitewww.peachpit.com/videomacin order to
download sample files.
I
have seen this first person.. and it is AWESOME.
Tons of real-time performance in Premiere Pro and
64-bit Operating Systems. It can also be tied to
a really fast graphics card for better
performance. The app runs INSANELY great and will
hopefully propagate through other Adobe apps like
Photoshop and After Effects.
"You've never seen a training camp like this!
Photoshop World is the ONLY Photoshop and digital
photography conference designed to put you at the
top of your game with fast and furious classes
from the world's leading experts. Photoshop World
is where Photoshop users go to learn hard and
play even harder!"
Our friends
atthe Peachpit User Group
Programare making a
special offer for all Mac User Groups who are
interested delivering both great information
on video production and a great price on a
Peachpit book to their members.
Richard Harrington and Robbie Carman are both
Apple Certified Trainers and have an extensive
background in video production. They talk with
publisher Nancy Aldrich-Ruenzel about their new
book Video Made on a Mac: Production and
Postproduction Using Apple Final Cut Studio and
Adobe Creative Suite, explain who it is written
for, and reveal why the Mac is their platform of
choice for professional endeavors.
You can capture video for an After Effects
project using Premiere Pro. Learn how to quickly
switch applications to pull in new footage from
tape. To download sample files, visitwww.peachpit.com/videomac.
Once you’ve acquired
your digital images, you’ll need to
size them for your project (as well as
ultimate output). For many Photoshop users,
such as photographers, this may be as
straightforward as cropping and sizing. This
chapter explores several techniques for
sizing your images. You’ll learn about
the concept of resampling, which addresses
how the computer adds or subtracts
information from a digital image while
trying to retain detail and clarity.
The second part of the image-sizing puzzle is a
clear understanding of these output requirements.
What resolution does your printer need? Are you
sending the image to a service provider such as a
developer or commercial printer? You’ll
need to make lots of choices, but they should be
based on where the image needs to end up. Do not
make assumptions when starting a project. Know
the destination of your image so you’ll
know which path to take.
KEEP READING AT PEACHPIT.com
Get the
Book
Photoshop offers a wide
range of features for rescuing washed-out
faces, teasing subjects out of the shadows,
and adding richness and depth to images.
Rich Harrington explores some of the most
useful Photoshop options for bringing
life-giving color to your photos.
Learning how to spot problems and then choosing
the right correction technique is an essential
part of mastering Photoshop. Several different
tools are available, some more useful than
others. By analyzing the most important tools and
determining in which situations they might help
you, a more thorough understanding of color
correction is possible.
The primary purpose of Photoshop is to act as a
digital darkroom, where images can be corrected,
enhanced, and refined. How do you know an image
needs touch-up? You can pretty much assume that
every image can look a little (or even a lot)
better than how the camera captured it. Whether
it's adjusting the exposure, increasing contrast,
or boosting saturation, Photoshop is the place to
improve an image.
KEEP READING AT PEACHPIT.com
Get the
Book
Transparency plays a key
role in the success of animation and
interactivity. By embedding transparency
into graphic elements, you can composite
together different elements created at
different times, allowing for true
flexibility.
The alpha channel is the technology behind
transparency in computer graphics. It first
evolved in the late 1970s at the New York
Institute of Technology and then continued to be
refined at Lucasfilm and at Pixar. When you
employ alpha channels embedded into footage
layers, transparency data can travel seamlessly
between After Effects and Flash.
You
can create alpha channels in several ways. One
common technique you can use for video footage is
chroma key technology. By shooting elements
against a blue or green screen, you can easily
remove the background. This technology is hardly
new, making its first appearance at RKO Radio
Pictures in the 1930s. The popularity of chroma
key technology has grown immensely, bringing the
technology and tools within reach of most content
creators.
KEEP READING AT PEACHPIT.com
Get the
Book
Looking for a quick overview on how to control
text animation in After Effects? This video will
get you up and running quickly. You can also
visit the websitewww.peachpit.com/videomacin order to
download sample files.
“How would you like a chance to win a
1.5-TB Guardian MAXimus quad interface hard drive
and $200 dollars in Fotolia credits, both
courtesy of Fotolia? We thought so. Just show us
your killer design skills, and before you know
it, it could be you downloading a ton of awesome
images from Fotolia to your brand-new hard drive.
And as an added perk, we'll publish the winning
entry in the January/February 2010 issue of
Layers magazine. So how do you win these great
prizes? All you have to do is enter the Layers
Back Page Design Contest.”
Learn about important changes to the Photoshop
CS4 user interface such as refined workspaces,
freely rotatable canvas, greater zoom levels,
enhanced controls with panels, and tabbed
documents.
The
extraordinary trainer, Terry White has
released an iPhone app called
"Learn
Adobe Creative with Terry White"which gives
you access to nearly 300 Video Tutorials.
Terry is a great podcaster and trainer with
a lot of passion for Adobe software.
You also get access to bonus content that won't
be posted anywhere else. The app also lets you
download the videos to your iTunes library so you
can watch when you are not online.
The "Learn the Creative Suite with Terry White"
app is available for both the iPhone and the iPod
touch. You canget it from the App Store for
$1.99.
Have you seen ournew book? Be sure to check out
theFacebook groupfor more
resources.
We've also got a new podcast series too with free
tips and practice files.Webor iTunes for free.
"On a Mac, the sky's the limit for creating
professional video. With all the tools available
though, it can be a daunting task to decide which
ones offer the best solutions for combined
efficiency and high-level results. How can you
effectively communicate your vision to clients
and crew? How should you calibrate your camera
for multi-camera and green screen shoots? Is it
better to do your keying in After Effects,
Motion, or Final Cut? How should you set up your
edit suite for efficiency and accuracy? How do
you manage large amounts of media and a multitude
of formats for multiple software applications?
In
Video Made on a Mac, you'll learn the answers and
much more. Chock-full of practical advice and
step-by-step instructions, each chapter provides
insight on the critical components of production
and postproduction that can make all the
difference when you're up against a tight budget
and schedule. The accompanying DVD supplies you
with project files and high-definition footage so
you can follow along with the examples, as well
as 50 training videos. Whether you're an advanced
Mac user or just beginning to incorporate Adobe
Creative Suite into your Final Cut Studio
workflow, you'll learn to apply best-practice
techniques to all your video projects."
Recharge Your Creativity and Craft •
January 13 - 16 • Miami Beach, Florida
Now in its fourth year,
theEditors Retreathas become an
annual gathering for the post-production
elite. Highly experienced editors from the
worlds of film, TV and video gather to
network, exchange ideas, share tips and of
course, have fun!
Past keynotes and attendees have included such
names as Alan Heim, Sally Menke, Stuart Bass,
Chris Franklin and David Helfand as well as
Apple, Adobe and Avid experts and industry power
users. Attendees have included representatives
from HBO, FRONTLINE, MTV, Lockheed Martin, Harpo
Productions and Telemundo.
Running for 4 days and 3 nights, the Retreat
offers advanced sessions on post visual and audio
techniques and features valuable insight into
emerging trends and technologies. An equal amount
of time will be devoted to discussing the
creativity, craft and business practices of
successful editors.
To ensure that only the best of the best attend,
participation is subject to an application and
screening process. Visitwww.EditorsRetreat.comfor the full
schedule and more details.
Attendees all
receive a huge goodie bag! Right now its valued
at over $4500 in gifts:
Adobe has announced that
the next version of the software will run on
64-bit Operating Systems only. It's not all
the apps in their suite, but the apps that
will most benefit.
"It’s common
knowledge among post-production pros that 64-bit
operating systems are the best choice for
top-of-the-line performance, especially when
producing HD or higher-resolution content. After
3 versions of simultaneous 64 bit and 32 bit
support for After Effects and Premiere Pro, we
wanted to let you know today that CS4 will be the
last version of Adobe’s leading video
applications to support 32 bit operating
systems."
Simon Hayhurst – The Senior Director of
Product Management for Dynamic Media
Our new
podcast,Video Made on a
Mac,
is in the New and Notable section of iTunes.
Richard Harrington and Robbie
Carman show you how to create professional video
on the Mac. In this series, they share videos and
project files using real world examples in Final
Cut Studio and Adobe Creative Suite. From
pre-production to post, and accomplishing it all
within a tight schedule, this podcast series
gives you a sample of what you can learn using
their book, Video Made on the a Mac.
Be sure to visit the site to get thefree downloadable
filesor order thebook. Be sure to use the code
VMMBOOK at checkout to receive a discount.
The
new podcast is brought to you by the fine folks
at Peachpit Press.
We've just released two very cool new
applications for the iPhone and iPod touch. These
applictons take full advantage of the iPhone and
iPod technology.
Includes
training videos edited specifically for the
iPhone or iPod Touch.
Offers easily
viewable screens, with zooms and close-ups of
the action.
Every lesson
includes hands-on files that you download to
your computer. There’s no need to merely
watch, you can try out every technique on your
own.
Test your
knowledge with interactive quizzes. Score
yourself as well as check your answers with
video responses.
Search
throughout the application by keyword and your
own bookmarks.
A quick
reference guide is also included to help you
build your Photoshop knowledge.
Interact with
the trainer with comments and a Twitter
client.
Understanding Photoshop: Quick
Fixes
Learn
how to quickly
solve common problems with color and tone
using Adobe Photoshop®. This innovative
learning application combines the latest in
knowledge and technology to accelerate your
learning. The application contains video
tutorials that cover a variety of tips and
tricks that will help you get the best out
of Photoshop. From learning how to
manipulate colors in your images to erasing
unwanted blemishes and even an entire person
from your photographs, these tutorials offer
it all. Whether you're new to Photoshop or
even an advanced user, you’ll find
useful techniques and powerful shortcuts to
get your work done faster.
Click here to visit the iTunes
store
how to create
breathtaking panoramic photographs using
Adobe Photoshop® and your digital camera.
This innovative application combines the
latest in knowledge and technology to
accelerate your learning. The application
contains video tutorials that illustrate
beginner to advanced techniques for creating
seamless panoramic images. You’ll
learn what gear you need for shooting
panoramic photos and how to use it.
You’ll also merge several complex
photos together, prepare panoramic photos
for printing, and create an interactive
360˚ panoramic movie. Whether your a
novice photographer or an advanced Photoshop
user, these easy to follow videos will help
you gain the skills you need to make amazing
panoramic photos.
Click here to visit the iTunes
store
The fine folks over at NAPP are running a
great contest to find
more Photoshop instructors.
"Anyone with a desire to teach others how to make
cool Photoshop effects can enter this contest. No
matter if you are a graphic designer,
photographer, teacher, student, or hobbyist. If
you’ve got the chops, the creativity and
the personality, this contest is for you. You may
enter up to 3 video tutorials for judging."
The deadline
for the contest is October 31, 2009.
The prizes
look great!
One Grand Prize: $2,500 (USD value)
National
Association of Photoshop Professionals –
one-year membership
GridIron Flow
software
Kelby
Training Online Classes – one-year
subscription
Layers
magazine – one-year
subscription
Kelby
Training Books & DVDs
Photoshop
World Conference & Expo Admission (plus
flight and hotel expenses)
And Tons of
Fame & Exposure
Plus, as the
grand prize winner you get the opportunity to
teach millions with a special guest spot on
PhotoshopUser TV and Layers TV podcasts, in the
pages of Photoshop User magazine, in an
instructor’s chair at an upcoming
Photoshop World Conference & Expo, on the
PlanetPhotoshop.com and of course, visibility
within NAPP to 71,000 members
worldwide.
5 Honorable Mention Prizes: $500 (USD
value)
National
Association of Photoshop Professionals –
one-year membership
GridIron Flow
software
Kelby
Training Online Classes – one-year
subscription
Check out ournew podcast
series. Join Richard Harrington
and Robbie Carman as we show you how to create
professional video on the Mac. We share videos
and project files using real world examples in
Final Cut Studio and Adobe Creative Suite.
From pre-production to post, these podcasts
gives you a sample of what you can learn using
their book,Video Made on the a
Mac.You can
use the code MACVIDEO for 35% off and free
shipping.
Watch
the latest FREE episodes:
•Organizing Images with
Bridge
•Prepping Storyboards for
Animation
Looking for another way to key? Be sure to check
out this video for a detailed demonstration of
keying with Keylight in After Effects.
You’ll also learn a few advanced tricks to
finalize the shot.
Group
and Ungroup– Similar to using a
track matte. Apply a layer to its downstairs
neighbor, but only in areas where there is
opacity. This is often used to constrain a
fill layer to a lower text layer for a Paste
Into effect. It is also used internally by
many layer styles to create proper clipping
for bevel effects.
Group:Cmd+G (Ctrl+G)
Ungroup:Cmd+Shift+G
(Ctrl+Shift+G)
Arrange
Layers– You can move layers
around from the keyboard.
Bring to
FrontCmd +
Shift + [ (Ctrl + Shift + [)
Bring
ForwardCmd
+ [ (Ctrl + [)
Send
BackwardCmd
+ ] (Ctrl + ])
Send to
BackCmd +
Shift + ] (Ctrl + Shift + ])
Align Linked
and Distribute Linked– Because your eyes
aren’t that good. Link the layers together
and access these controls from the menu (or use
the Move tool and Options bar for a graphical
interface). Want something centered on the
screen? Link to the background layer and
highlight it. The highlighted layer is the basis
for all centering and distribution.
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