InDesign How-To: Put One Image in Multiple Frames (Video Tutorial)

InDesign How-To: Put One Image in Multiple Frames (Video Tutorial)

Hi, I’m Erica Gamet with InDesign Secrets.
In this video, I’m going to show you how to place one image inside multiple
frames inside of InDesign. On this page, I have several different graphics frames
ready for images to be placed inside. And I can tell they’re graphics frames because
they have the blue X in the middle of them. But what I want to do is place one
image inside all of these, so I get sort of this windowpane effect. To do that, I
need to create what’s called a compound frame. I’m going to select all the frames
on my page, go up under the Object menu, down under Paths and choose Make
Compound Path. And when I do that, you can see that I now have one big X that
basically tells me that’s one big image frame. They’re still sort of separate, but
it’s going to act as one frame. Now I can go up under my File menu, under Place and choose an image I’d like to place. There’s a nice picture to be looking at
outside your window. And since I have Replaced Selected Item already selected,
it will automatically put this image inside that frame we just created. I’m
gonna go ahead and click open…and it drops it inside. Now it’s not quite the
image that I was hoping to see. What happened was, it placed it at the size
of the image and it’s too big. So I need to head up to the Object menu, down to
the Fitting sub-menu and say Fill Frame Proportionally. Now it fits so that the
image fills the entire frame. Now remember this compound frame acts as just any other regular image frame. So I can actually use my Content Grabber to
click on the image and manipulate it in any way. Like I might want to hold down my Shift key, maybe the Option or the Alt key and just drag, just to make it a
little bit bigger, and I can also move this around inside the frame. Let’s just
frame that up nicely so we can see everything. Beautiful. On my next page I
have a series of circles. In this case, I’m going to place an image and sort of
position it where I want it to be and then we’re going to paste it inside our
compound path. So let’s go up to the File menu and choose Place and grab our image and I’m not going to Replace Selected Item…just gonna say open. And I’m going to just click and drag, sort of on top of
these circles that are here. I kind of want to get an idea of where everything
needs to be sitting. I can also send that to the back…so that I can see my image
sort of back behind those circles. And I’m doing that because I want to make
sure that all the components of this compound path are in place before I make a compound path. So I’m going to choose the Selection tool and just sort of move these images around. Now I do have white fills on those circles. It makes them
easier to see but also harder to see the image back behind. When I’ve got it about
where I want it I’m gonna leave it and I’m going to Command- or Control-X to cut that image. Now I’m going to go ahead and select all of my circles, go up under the
Object menu, down under Paths, Make Compound Path. And now I’ve got my
compound path ready to drop my image inside. I’m gonna go up to the Edit menu
and choose Paste Into, and it pastes it into that path exactly where it was when
I copied it. Again, you’re not stuck with this. You can go ahead and use the
content grabber and move that image just like you would in any other frame. On a new page, I’m going to go ahead and place an image and then draw some frames on top of that to place that image into. I’m gonna go up to the File menu and choose Place and click Open…and I’m just going to go
ahead and drag this out. And I want to draw some frames on top of this image. Now I want to make sure they’re easy to see, so I’m gonna make sure that my
stroke color and my size are easy enough to see. Now I just want to draw out some
regions that I want this image to fill. So I’m going to go ahead
draw out some squares. As I’m drawing them, I can actually see how they’re
coming together. I can use my Smart Guides to guide me. And make sure the
family gets in its own little frame here. I’ll draw that out very roughly. Then I’m
going to use the Selection tool, select the image, Command- or Control-X to cut
that, select all those frames, go up under the Object menu, Paths, Make Compound
Path, and choose Edit, Paste Into. And there you go! There are a couple ways to
take one image and put them inside multiple frames inside your InDesign
document. Well, I certainly hope you found this tip helpful. Be sure to check out for thousands of InDesign articles and tutorials, and to
subscribe to our monthly publication, “InDesign Magazine.” Thanks for learning
with us!

How To Make The 3D Pop-Out Photo Effect In Photoshop – Out of Bounds Effect

How To Make The 3D Pop-Out Photo Effect In Photoshop – Out of Bounds Effect

How To Make The 3D Pop-Out Photo Effect In
Photoshop Welcome back to another very exciting tutorial
here at the My name is Jesus Ramirez and you can find
me on Instagram @JRfromPTC. In this video, I’m going to show you how to
create the 3D Pop-out Photo Effect in Photoshop. If you want to follow along, you can download
the watermarked previous or license the full resolution files from Adobe Stock. You can
find the links to these images right below this video in the description. We’re going to start out with these two layers,
the Photo frame background and snowboarder. I have them on two separate layers, of course.
And what we want to do is we’re going to isolate this black area here. We can, of course, create
a selection around the black area to isolate it, but I like working with vectors better
because they give you smaller file sizes and they’re easier to edit. So we’re going to
create a vector around the frame. So I’m going to press Z on the keyboard. I’m holding the
Z key. I’m not letting go of it, and I’m going to Zoom In to the corner here and release
the Z key, it will bring me back to the Pen Tool, which I had selected. Make sure that
you have Shape on the Options Panel on this drop down. Click on one corner then click
on the next, hold the space bar, pan down. Click on the bottom right corner and then
click on the bottom left corner. I’m going to hold the space bar, again, click and drag
to pan up, and complete that path. Now, the color and the shape doesn’t really
matter, so I’m just going to make it red, just so that you can see it. There it is–red.
What I’m going to do now is enable the layer of the snowboarder. I’m going to click and
drag her up to the top of the layers panel, and I’m also going to double tap here on the
Zoom Tool, just so we can see the image at 100%. And, actually, now that I’m looking
at it at 100%, I’m actually going to right-click on it and choose Fit on Screen so that I can
see the entire composition. Then I’m going to press Ctrl J, Command J on the Mac, to
duplicate. So now I have two copies. I’m going to disable the one on the top by clicking
on this I icon and the one in the bottom here, I’m going to clip to the shape below it. So,
with that layer selected, I’m going to press Ctrl Alt G, Command Option G on the Mac. Then,
I’m going to enable the layer right above that and I’m just going to make a selection
around the snowboarder. So I’m going to click on the Quick Selection
Tool and I’m simply going to click and drag around her. Now you don’t have to be very
precise at this moment. You can just click and drag, and we’ll worry about the details
later. So we’re just going to select her as quickly as we can. So I’m just clicking and
dragging, and notice that my selection is not very accurate. You shouldn’t spend too
much time at this moment. If you select an area like this part here that is obviously
not going to be a part of the selection, I’m going to hold Alt, Option on the Mac, click
and drag just to refine that selection just a little bit more. You know that I have the selection active
around the snowboarder. I’m going to select that top layer and click on the Layer Mask
icon to create a mask around the snowboarder. So what I’m going to do now is click on this
top layer, hold shift and click on the layer below it, so they’re both selected, and I’m
going to click on this chain link icon here to link those two layers. What that allows
you to do is when you move one of those layers with the Move Tool, it moves both, and they
can be in different groups and they can be separated. So that allows us to keep those
two layers together. What I’m going to do now is press Ctrl T,
Command T, to Transform, to scale this and adjust it accordingly. If you can’t see the
corner handles that you want to click and drag on, you can press Ctrl 0 (zero), that’s
Command 0 on the Mac, for the bird’s-eye view that allows you to see all four corner handles.
Then, I’m going to click and drag on this one here to scale it down by holding Shift
Alt, That’s Shift Option on the Mac. Now, at this point, we can go back and adjust the
layer mask if we need to, so I’m going to Zoom In just so we could see the areas that
we need to work on. So we need to work on this area, and then, the blue outline around
her body. So we can adjust that by clicking on the layer mask in the Properties Panel.
You can click on Mask Edge. If you don’t see the Properties Panel, you can go into Window,
Properties, click on Mask Edge, and then, maybe shift the Edge with a negative value
and see how that has adjusted so. And keep adjusting it and making sure that that line
is gone, but we don’t lose any detail that we want to keep. Also, with this brush selected, I can click
and drag here on the hair, and hopefully we’ll get a better selection. I didn’t do that good
of a job here, so I’m just going to leave it like this for now and I can come back with
the brush tool and fix that in a moment. So I’m going to press OK, click on the Brush
Tool, paint with white in areas that I want to keep, so I’m just going to paint with the
white in these areas here, and I know I’m selecting some of the sky, but that’s okay.
I’m going to get rid of that by pressing X in the keyboard, which swaps the foreground
and background color. And with black, I’m going to paint on that layer mask to get rid
of the sky here, and I’m not going to take the time to do so now. I will do that after
the tutorial and you can see the final image, but I’m just going to go around the entire
image and just make sure that everything is masked out accordingly. And in most of these
areas, everything seems to be okay. I know we got to work on this area here, and like
I said, I’ll do that after I’m done with the tutorial and you can see my final result.
But for now, we’ll just leave it as is. I’m going to press Z on the keyboard, right click
and choose Fit to Screen. And what we’re going to work on now is extra
elements that are going to help our composite look much more realistic and much more interesting.
So, from the Adobe Stock Library, I downloaded two elements that we’re going to use. We’re
going to use this shovel with the snow, so let me just double click on that to open that
up. And, by the way, the links to these files are on the description. You have to download
them from Adobe Stock. They’re not free, but you can use a watermarked preview to practice
on. So I would recommend you doing that, just so that you can have a way to practice and
learn. So, the first thing I got to do is get rid of the shovel. So I’m going to click
on the Lasso Tool and I’m going to make a selection around the shovel, and as you can
see, it’s not very accurate. That’s okay. Then I can hold Shift and Backspace or you
can go into Edit, Fill to bring up the Fill Menu. Under Contents, choose Content Aware
and press OK. And Photoshop will Fill In those pixels and make the shovel disappear. I’m
going to press Ctrl D, Command D on the Mac, to Deselect, and this is what we’re going
to work with. The first thing that we need to do is mask out the snow from the ground. So I’m going to go into the Channels panel
and I’m going to look for the channel that’s got the most contrastóin this case, the blue
channel. I’m going to click and drag on the blue channel and drop it here in the new channel
icon to duplicate it. Now with the duplicate channel, I can start making adjustments to
it. The first thing I’m going to do is fill with white the areas I want to keep for sure,
so with the Lasso Tool selected, I’m just going to click and drag and make a very rough
selection on the areas for sure I want to keep, which is all this top part here. Now
that I have a selection active, I can fill with white. White is currently my foreground
color. To fill with the foreground color, you can hold Alt and Backspace, Option Backspace
on the Mac; then Ctrl D, Command D on the Mac, to Deselect. Now we got to work on this bottom part. There’s
a feature in Photoshop called Apply Image. If we go into Image, Apply Image, what Apply
Image allows you to do is to take an image and apply it onto itself using a Blend Mode.
In this case, we’re taking the blue copy, apply in the Screen Blend Mode into itself,
so notice what happens here on the snow on the edge. It essentially turns white, which
is what we want. You could, of course, apply a Multiply Blend Mode and it will give you
a different result. In this case, I think I’m going to go with Screen, and then, I’ll
just work on the edges in the next step. So I’m going to press OK and what I’m going to
do now is go into Image, Adjustment Levels, and bring the levels to the rightóthe dark
values to the right. So we have more contrast between the snow and the ground. And remember,
we’re going to be making this selection; anything that is white in the screen will be selected.
Anything that is black will be deselected. So I’m going to drag this one over to the
left a little bit. I’m looking at the edges here and, maybe, drag this one to the left
as well, and press OK. Now, what I’m going to do now is click on the Brush Tool, select
black as my foreground color so I can paint with black. I’m going to increase the size
of my brush by clicking on the right bracket key on the keyboard and I’m just going to
paint with black. And, again, you don’t have to be very accurate. As long as you get close
enough, you should be good. And I’m just painting these pixels away which represent the floor.
And, once again, I’m going to go into Image, Adjustment, Levels, and darken up some of
the darker pixels and brighten up the midtones a little bit, and press OK. So this selection
looks like it would work, so I’m going to press Ctrl, Command on the Mac, click on the
blue copy icon to make a selection around it. Go back into the Layers Panel and the
Background Layer, which is the only layer that we have on this document. I’m going to click on the New Layer Mask icon
and notice now that the floor is no longer there. Now, it’s not a perfect selection but
it’s going to work because the color of the floor and the color of the table are very
similar colors and I think we’re going to be able to get away with it. So what I’m going
to do is I’m just going to simply click on the layer, select the Move Tool, click and
drag the layer over onto the other file by hovering over the tab, and then, coming down
and releasing, and there’s our file. It’s a really big layer. So we’re going to need
to scale it down; Ctrl T, Command T on the Mac, to Transform. We can’t see the corner
handles, so I’m going to press Ctrl 0 (zero), Command 0 on the Mac, there’s the corner handles,
and now, I’m going to adjust them accordingly. I’m holding Shift as I’m clicking on these
corner handles to keep the file constrained. The angle is not really matching my scene,
so I’m going to right click on it and choose Flip Horizontal, and from here, I can match
the scene a little better. I can even distort it if I want to, maybe right click on it and
choose Distort, just to get a better perspective of the scene that we’re working with, maybe
something like this, and press Enter when you’re done. Now that we have this file in
place, I’m going to press Z on the keyboard, right click, Fit to Screen, then I’m going
to press V on the keyboard to get the Move Tool and, maybe, I can move it around if I
need to, and I’m going to click on the New Group icon to create a new group. I’m going
to click and drag this snow layer in there. I’m going to collapse it and now it’s in that
group. Next I’m going to hold Alt, Option on the
Mac, and click on the Layer Mask icon to create a black layer mask which hides everything.
Then, with the Brush Tool, I can paint with white on this layer mask to start revealing
some of that snow. So I’m going to use the bracket keys on the keyboard as I work to
increase and decrease the size of my brush. So I’m just painting with white. Just bring
in some of that snow. And if you make a mistake, you can press X on the keyboard to paint with
black and, maybe, shape the snow a little bit better, so, maybe something like that.
What we’re going to do now is work with different elements, so I’m going to open up the Libraries
Panel and I’m going to open up this file here, which is these snow elements that were also
downloaded from Adobe Stock. By the way, if you don’t have Photoshop CC, you won’t have
the Libraries Panel, but you can still download the watermarked previews onto your desktop
and bring them into Photoshop as you would any other image. So you can still work with
the previews. So, what I’m going to do now is just select
one of these elements and bring it over to the file that I’m working with. So I’m going
to click on the Lasso Tool and I’m going to select this element first. So I’m going to
select it, go to Edit and Copy, or you can press Ctrl C. I’m going to deselect that element,
Ctrl D, Command D on the Mac, go back into the file that we’re working with and I’m going
to paste it here, Ctrl V, Command V on the Mac, and there it is. As you can see, it’s
a high resolution file, which is good. I’m going to change the Blend Mode to Screen,
so the black pixels disappear and we only keep the bright pixels, in this case, the
snow. Then, I’m going to press Ctrl T, Command T to Transform, Ctrl 0 (zero), Command 0 for
bird’s eye view, and I’m going to scale this element down. I’m going to press Ctrl 0, Command
0 again to zoom back in, and I’m just going to rotate it and make it fit accordingly. Now, in this case, I’m going to flip it horizontally.
So right click on it, flip horizontally, and keep rotating it, so maybe something, something
like this. And I can, you know, scale it more if I need to, or rotate it more if I need
to. So whatever distortions I need to do for it to work, so, maybe something like that.
So I just press Enter to accept that transformation, and I’m going to use one more element. I’m
going to use this one right down here. Again, Ctrl C to copy and paste that in here. Change
the Blend Mode to Screen, Ctrl T to Transform, that’s Command T on the Mac; Ctrl 0 (zero),
Command 0 on the Mac, and scale this one in as well, and I’m going to zoom in and rotate
this one into position, maybe right about here or so. But I want this one to be in the
back, so I’m going to click and drag this one and place it way back here. And I’m going
to press V to select the Move Tool and I’m going to move it around just to fit it into
position, so maybe something like this. And, actually, I just realized that I made
a mistake. Notice how this element gets cut off right in this area? That’s because this
element needs to be right here. It needs to be in-between the layer that’s popping out
the subject and the layer that is clipped to the vector, so right in-between those two.
So, now the snow follows through into the frame. Now the last thing that we’re going
to do is we’re going to work with shadows. So, first, with the snow here on the table,
it needs a shadow. So I’m going to open up this group, double click on the snow layer
here and click on Drop Shadow. Notice the little drop shadow there. You can use the
settings that I have here if you like. Notice that I’m not using black. I’m using the dark
burgundy color, which is similar to that color you see right there, right under the frame,
and just brought the Intensity down to about 25% using Multiply, and notice the light is
coming from the right. The light on her face is coming from the right and so is the light
hitting the frame. So you sort of want to match that with the shadows, so the shadows
will be on the left side, sort of like here, behind the frame. So this is what this is
showing. So if I were to bring it up to 100%, this
is what that looks like. Obviously that’s too much, so leave it at about 25% or so.
And what I’m going to do now is right above this snow element here, I’m going to create
a new layer and I’m just going to paint with this color here under the board, so you can
click on the Eyedropper Tool. Select that color and maybe make it a little bit darker
because it’s too light, something like that, and just continue that shadow that’s coming
off the board. And, actually, let me drag this layer up on top of the group and just
continue painting that shadow that’s coming off the board, so maybe something like this.
And then, change the Blend Mode to Multiply, and bring that shadow way down, so, maybe,
something like that. Now, the only difference between the final image that you saw in the
beginning and this one is that with the final image, I took a little more time working with
the mask a little more time placing the elements, and moving things around so they fit a little
bit better. But these are the techniques that I use to create this effect. If you decide to create an image using tutorial
or any of my tutorials, then upload it to Instagram with the hashtag #PTCvids. Every
so often, I do a search for that hashtag, and if I find your image, I’ll leave a comment. And that’s it for this tutorial. I hope that
you enjoyed it and that you learned something new. If you have any comments or questions,
leave them down below. If you enjoyed the tutorial, don’t forget to click that Like
button and share this video with a friend. If you haven’t already, subscribe to the Photoshop
Training Channel now. Thank you for watching and I’ll talk to you again soon.

Photoshop Tutorial: How to Make a Personalized,  3D Pop Out Photo Effect!

Photoshop Tutorial: How to Make a Personalized, 3D Pop Out Photo Effect!

Hi. This is Marty from Blue Lightning TV.
I’m going to you show you how to make your color photos more engaging, fun and personal.
You can apply these techniques to virtually any photo. Open a color image you’d like to
use. I downloaded this one from The first step is to convert it into a Smart
Object, so we can make adjustments to it non-destructively. It’ll also allow us to replace the photo with
a different one without having to redo all the effects. To do this, click the icon at
the upper, right of the Layers panel and click “Convert to Smart Object”. Make a copy of it by pressing Ctrl or Cmd + J. Click off the eyeball next to the copy to hide the layer and click the thumbnail of the bottom layer to make it active. Go to Filter and Filter
Gallery. Open the Texture folder and click “Grain”. Make the Intensity: 20, the Contrast:
50 and the Grain Type: Clumped. Then, click OK. Go back to Filter and Lens Correction. Click the Custom tab and drag the Vignette Amount all the way to the left. Then, click OK. Click the Adjustment layer icon and click Hue/Saturation. Drag the Saturation all the
way to the left to remove all the color. We want to make new layer below the adjustment
layer. To do this, Ctrl-click or Cmd-click on the New Layer icon. Open your Rectangular Marquee Tool and drag a rectangle over the general area you’d like to revert back to color. Go to Edit and Stroke. I’ll make the Stroke: 30 pixels, however, depending on the
resolution of your photo, you may want to use a different amount. Make the Location:
Inside and click the color box. Pick white. Then, click OK on both windows. To deselect it, press Ctrl or Cmd + D. To angle your frame, open the Transform Tool by pressing Ctrl or
Cmd + T. Go to a corner and when you see a curved, double-arrow, rotate it to angle you
like. To reposition it over the area, go inside the Transform and drag the frame. Then, press Enter or Return. Ctrl-click or Cmd-click on the thumbnail of the frame to make a selection of its shape. Press “Q” to make it into a quick mask. Open your Paint Bucket Tool. Make sure your foreground color is white and “Contiguous” is checked. Click outside the frame to delete
the quickmask, leaving just the quick mask inside of the frame intact. Press “Q” again
to revert it back into a selection. Invert the selection by pressing Ctrl or Cmd + Shift + I. Make the top layer active. Keep in mind, the photo in this layer is in color because
it doesn’t have an adjustment layer above it that desaturates its color. Click the Layer Mask icon to make a layer mask of the selection next to it. Make the layer visible. Ctrl-click or Cmd-click on the thumbnail of the frame layer again to make a selection of its shape. Press “Q” to make it into a quick mask and click the Paint Bucket Tool inside the frame
to delete the quick mask. Press “Q” to revert into a selection. Make the frame layer active,
fill the selection with white and deselect it. Because we filled the selection with white,
this layer is no longer a frame; it’s a white box. Double-click on it to open its Layer
Style window. Click Drop Shadow. Make the opacity: 40% and uncheck Global Light. Make the Angle: 138 degrees, the Distance: 50 pixels and the Size: 20 pixels. Then, click OK. Next, we’ll enlarge the color photo. To do this, Shift-click on the top layer to highlight
the top 3 layers and open your Transform Tool. Zoom out by pressing Ctrl or Cmd and the minus
sign on your keyboard. Go to a corner and when you see a diagonal, double-arrow, press
and hold Alt or Option + Shift and drag it out to a size you like. Then, reposition it and press Enter or Return. To fit it back onto your canvas, press Ctrl or Cmd +0. We’re ready to add text. Open your Horizontal Type Tool. Choose a font. I using a handwritten-style
font called, “MT Matto Script Normal”. If you’d like to use it, as well, I provided
its link in the video description or project files. I’ll make the size 70 points, Sharp
and Left Alignment. Click the color box and click a color on your photo that you think
would work well for your text. You can always change it later. Then, click OK. Click on your document and type your text. Double-click on an empty area of your text layer to open the Layer Style window. Click “Outer Glow” and change the Blend Mode to Normal. Click
the color box and pick black or white or a grey tone that will make your text pop more
depending on the background behind the text. For this example, I’ll pick black and click OK. Make the Size 50 pixels and click OK. Open your Transform Tool to rotate, position
and resize it. Then, press Enter or Return. This is Marty from Blue Lightning TV. Thanks for watching!

How to Edit Your DJI Mavic 2 AERIAL HYPERLAPSE Raw Images

Hey, this is Matt with Blue Mantle Films, and today I’m gonna go through my post production workflow for making hyperlapses. This video is a follow-up to my last video, which I released a week ago. This one is how to take the raw images that the Mavic 2 captures, and to post process them until you get awesome-looking hyperlapses. Now the response to last week’s video was really, really positive. There are 1500 new subscribers since last week, which is easily the fastest this channel has ever grown, and so I just want to take a moment to say welcome to all the new subscribers. Thank you for being here. So, I don’t use Lightroom very often, other than to process these hyperlapses and so I’m sure there are more efficient workflows out there. But I’m hoping that regardless that there’s some value in this. Hey guys, so I just hyperlapsed a storm that is off in the distance, I don’t know how it’s going to turn out, but I think it looked kinda cool when I saw it on the screen. So I chose the wrong hyperlapse to use for this video. There are definitely a lot cooler ones, but unfortunately I already spent hours and hours editing this video to this, what ended up being a pretty mediocre hyperlapse. The process is still the same, so as you watch this video, just know that this applies to cooler-looking hyperlapses also. One little tip, overarchingly, is that I think it’s a good idea to be aware of keyboard shortcuts. Using shortcuts can really speed up your workflow, and help you to get through these edits faster so that you can get more videos done. Okay, so let’s go through a daytime edit! I’ll load up Lightroom. We’re going to import a new one. Here. 172. These are the ones we’re importing, so go ahead and click “Import”. And then even though it’s still importing, I’m just going to start this. So press “D” to go into “Develop”. Okay, now obviously this is overexposed. We’re gonna bring the exposure down. Also going to bring the highlights down, so we can get rid of this glare that’s up here in the upper lefthand side. We’re to bring the shadows up a fair bit. Let’s add at a little bit of contrast. This gives you an idea of why it’s so, so valuable to shoot in raw. You can pull so many details out of an image, by processing it from the raw files. I feel like this is too warm so we’re gonna cool it down just a tiny bit. Command Z to undo, Command Shift Z to redo. And then you can see the difference. Okay, I’m also going to add a little bit of Clarity. Not too much, that can easily be overdone. And the other thing too with Clarity is that it affects images differently, depending on what is in the image, and so it can make your image flicker over time, so you have to be pretty mild with how much you use that one. Maybe even just a tiny bit of saturation. Okay so I like that so far. This image by itself is pretty boring. It doesn’t have good composition right now, but it’s the full movement that I’m hoping ends up looking good as it goes through and kind of circles around this little island that was right here. Alright so now we’re gonna go down here, We’re actually going to do some lens distortion correction. I think around 8 gets rid of some of that barrel distortion. And then “Constrain Crop” so that gets rid of the white that you see on the edges. Also going to zoom in and take a look at noise reduction, see if there’s anything that we needed to do for that. Maybe just a tiny bit. You can see some noise in the sky. And then I also I want to do a tiny bit of sharpening. Okay, now this one’s going to be interesting, and one of the reasons why I chose this one to process is because the light changes pretty significantly from the beginning to the end. So we’re gonna have to see how to find the happy medium, and split the difference. So we’re gonna go back to grid mode, press “G”. Select this one. “Command Shift C” copies the settings. Hit “Command A”, And then Command Shift V. will paste the settings to whatever you have selected, so in this case to the whole sequence because we have the whole sequence selected. Now we’re going to go to the end and see what those edits look like on the end. Way too dark. Holy cow. Now I will say this is gonna be kind of interesting, this may be one that I end up using LRTimelapse for. LR Timelapse is something that allows you to keyframe your metadata of these raw images, which means that from, say, from the beginning of the sequence to the end of the sequence, I can have exposure set at a negative, 1.2 at the beginning of the sequence, and then by the end of the sequence I can be increasing the exposure slowly, throughout the whole sequence, until I get a much more proper exposure by the end of the sequence. I don’t want to use LRTimelapse in this tutorial. I feel like I’m already throwing enough at you with Lightroom and Premiere, so what I’m going to do is I’m going to try to split the difference, and then in Premiere, once I have a fully-exported video, then I will increase the exposure. So we’re gonna put the exposure at -0.5, and we’re gonna take a look at that. So that’s obviously dark and we don’t want it to be that dark at the end. But we’re going to see how it turns out. Let’s try increasing the shadows a little bit. There. So, “Command Shift C”, “Enter” to select everything. “Command A” to select all of them I’m gonna go back into grid mode. Okay, and then “Command Shift V”, or “Control Shift V” if you’re on a Windows. All right there. I pasted all of the settings across all of them. We’re gonna go to the top, and look at the first one. Let’s see how this turned out. Definitely too bright. Okay we’ll try -.75. That’s — that’s acceptable. I’m going to increase the contrast a little bit. It’s not quite what I want it to look like but that’s acceptable. So then again… Now we’ve pasted the settings across all of them and now we’re going to go to the end one. Hmmm… I think that’s the best we’re gonna get without using LRTimelapse. The light changed too much between the beginning and the end, and so we will keyframe in Premiere to try to get the exposure right. So go back to grid view, and then I’m going to export. Choose our location. Choose. I’m going to save them as JPEGs. At this point I’ve already done the post processing, I’ve already pulled out the digital information that I hope to pull out of it, and so I don’t mind as much saving this as a JPEG. It’s still not perfect. If I had a faster computer I would try to do a better one, but for this, a JPEG is is sufficient. And then we’re going to export. So I’m going to skip ahead and I’ll pick it up again once it finishes. Okay so it has now finished exporting out of Lightroom. So we’re gonna import Downtown Sarasota 2, just the first, one make sure that “Image Sequence” is selected. Okay, now we drag this to a new sequence. You go down into the effects panel, and you type in “warp”, so that you can load that up, and drop that on there. Now again this is gonna take some time, so while that is processing I’m actually going to get started already on trying to keyframe the exposure, because you can still look at the frames, even while it’s analyzing. So we’re gonna go to the beginning of the sequence. We’re going to go into the “Color” panel. So we actually are going to adjust this just enough so that it makes Lumetri active on the clip. And go back into “Editing”, go down here to “Basic Correction” And we’re going to keyframe the exposure. Make sure you add a keyframe. Let’s go to the end of the clip. Yeah, so this is where it’s really dark. So we are going to keyframe the exposure up significantly. Let’s try 2. That’s closer. I’m gonna bring the highlights down a tiny bit. And then maybe 2.3. Alright, so that’s how we’re going to do it. Let’s go back in here, Let’s see how Warp Stabilizer is doing. Okay. So what I want to do is, I’m going to change the smoothness down to 25, and what I’m looking at is this Auto-scale. I want that to be — there we go — around 102% or less. Because I don’t want a lot of distortion in the corners of the image. So I’m gonna hit “Preserve Scale” and that will keep it consistent across the whole clip. Alright there we go. So this point depending on what you want to do — once you get to this stage — what you want to do with the clips, One possibility is that you just want to export individual clips, and save them out as their own individual video files. Which I do sometimes. I do for the sake of stock footage, and then I do also for the sake of having, sort of a clean, finished version of the hyperlapse. But if I know that I’m working on an edit, and I just plan on using the clip in that edit, I have it here in the timeline. These are technically their own sequences, but they act like clips, and then I can drop them into my edit wherever I would like them to be. Okay, so that’s it! If there are any suggestions that you guys have for this workflow — ways that I can improve it — I would love to hear that. Just tell me in the comments below about some of the things that you do as part of your post-production process, your post-production workflow. As I said, Lightroom is something that I’m still kind of learning. And so I know that there must be ways that I can improve this process. I think that’s all. I’m going to cut this here — I probably have an hour and a half of footage for this tutorial now. So please like, comment, subscribe. All the normal YouTube stuff. I’m really hoping that this channel can keep growing, that we can keep building this community. So thank you for watching, and I’ll see you in the next one.

Just One Image File, But Multiple Versions! How?

Today I’m going to share with you how you
can use the magic of Layer Comps to create different versions of the same document in
such a way that you can pull up any version anytime and in the document. Let me first demonstrate and then we will
learn how to do this. So this is a simple magazine cover template. Right, let’s say we want to add a photo to
it. All we need to do is to go to File and then
place linked. Simply locate the document that you want to
attach. In this case, I’m going to use a Man with
Camel and hit Place. All right, pretty good. Now, let’s just go ahead and adjust it. So I’m going to make it a little larger, and
it’s fine with me. Now here is the magic. Have a look at this. If we go to Properties right here, or if we
simply go to Window and then make sure Properties is checked, inside of that, have a look at
this drop down, if I just click on this one, look at the Layer Comps available. If I choose Original, this is going to show
me the original image. Isn’t that wonderful? If I just go ahead and choose the Silhouette
Version, just click on that and it loads that and simply Isolated Version. This has a transparent background, so I can
choose any color I want. Or maybe I want to place a different sky or
whatever I like, different design, different texts. And we even have one more version, which is
the Black & White Version. Isn’t that amazing? So how did we create all of this? To be able to access the different versions,
we need to create the versions using Layer Comps. Keep in mind that we inserted a document we
did not insert a JPEG image. So let’s just go ahead and open that document
and let me show you what exactly I had in that document. So here we are in our Finder or Explorer and
I’m just going to open this PSD separately – Man with Camel. As you can see, I have a ton of layers in
here. Now, let me show you something interesting. If I go to Window and then if I click on Layer
Comps, look at the different versions here – Original, Silhouette Version, Isolated Version. Now, wherever we are selecting all of these
versions, what’s happening is some of the layers are being hidden and some are becoming
visible. That’s just it. And that’s how you create these Layer Comps. So let me just go ahead and delete all of
this and let me take you through the entire document. All right, okay. Now, here we have a lot of layers, a ton of
layers, right. So at the very bottom, we have the original
one. On top of that, we simply created a black
and white Adjustment layer, added some Curves and added some vignetting and some grain. So this is the black and white version. So let’s say now I want something with the
background changed, a sunset version. So for that I masked it out here, this layer,
and put in a background. Now, since we put in a dark background, we
needed to make this darker as well. So if we just turn the Curves Adjustment layer
on, we’ve just made it absolutely dark. You can keep it a little light depending upon
your taste, I’m just going to make it absolutely dark. So, we have everything in here. So let’s say I want an original version. So, I’m going to turn everything off and just
keep the original on. Now, I’m going to go to Windows and then Layer
Comps. Now, inside of Layer Comps, we will click
on this ‘+’ button right there and just make sure everything is checked so that even the
visibility, position, in case you change any of these properties, they will stay with the
Layer Comp. So we just going to name it Original and hit
OK. We are keeping it simple and only controlling
the visibility. Hit OK. Now, let’s say we want a black and white version. So let’s turn on the layers, which will make
this black and white. All right. Now, let’s click on the ‘+’ button right there
and let’s name this Black and White. Now you can turn off all of these layers if
you wish to. Now, so let’s turn on the sunset sky and let’s
turn the masked one on. We have to turn on the Curves to make all
of this dark. Let’s click on ‘+’ again and let’s name this
Silhouette. All right. Now we have that. And we can create even one more version if
we wish to. So we have the Original, Black and White,
Silhouette and Isolated – one with the transparent background because we might need it. So let’s turn off the Curves, let’s turn off
the sunset sky. This is absolutely transparent and let’s just
name it probably Transparent. Perfect. Now, let’s create one more additional version
that we had not created before. So I’m just going to turn off everything. And maybe at the top, we will add a Color
Lookup table. Click on the Adjustment layer icon and then
choose Color Lookup. Probably we will choose something like FoggyNight
just to show you this. All right, let’s open up the Layer Comps by
clicking on this button right there or simply going to window and then make sure Layer Comps
is checked and then click on the ‘+’ and let’s name this Foggy Night. All right, hit OK. Now, let’s go ahead and save it. File – Save. It’s saved in the same location, it’s just
updated. Let’s go back to this document. You will see, it will update itself too. If I select Man with Camel in this document,
since this is linked, if I open up the Properties right here and if I choose Foggy Night, it’s
going to show me the Foggy Night which is already selected, the last saved version. Transparent version, we have the Black and
White version. See all of this updated. This is the blank template again. I wanted to show you one more important thing. Keep in mind that this will work with any
kind of smart object. Not only linked. Even if you just embed it, this will work. So if you go to File and then Place Embedded
and then choose Man with Camel and hit Place and if you adjust it, you will still have
access to all of these properties. With that layer selected, if you just open
up the Properties, you still can change the Layer Comp. Also, even if you just drag it and drop it. So, I’m going to go to my Finder right there,
Man with Camel, I’m just gonna drag it and drop it right there. And even then, if you just go to the Properties,
you will have access to everything. So, that’s how you can use Layer Comps to
create different versions of the same image and whenever you insert the image, you can
choose whatever version you like. I hope this video helped you. I will see you guys again in my next one. Till then stay tuned and make sure that you
keep creating.

Photoshop for Beginners in Urdu / Hindi | Course  | Working With Images | Lime Tech | Class 01

Photoshop for Beginners in Urdu / Hindi | Course | Working With Images | Lime Tech | Class 01

Music In the name of Allah, the Most merciful, the most beneficent. My name is “Abul Waheed” and you are watching “Lime Tech” Channel. I am working on photoshop for 10 years, And many people requested me to teach them Photoshop. So, I decided to make a course for all of you. therefore I prepared a course on photoshop,
in this(course) all things described basic level to advanced level in the simple method. After the completion of this course, you will be eligible for the job in any production house
and you can work online on any freelancing website. If some peoples of you thinking that after learning this course,
you can job in any production house then this course is definitely for you. you can watch and learn If some peoples of you thinking that after learning this course,
you can do freelancing then this course is definitely for you. you can watch and learn. and make your carier on freelancing platforms. If you thinking that photoshop is in trending, and you learn this course for this purpose
then please skip this video this course is not for you. However, if you wanted to edit your personal photo professionally then you see and learn this course
and edit your personal images professionally. If some peoples want to become a successful freelancer.
Then, I have good news for you. After completing the photoshop course,
I will prepare a course on freelancing, in which, I will tell you how to create an account,
build your profile,and how to get projects. Also, I will let you know the website i am working on,
what is my skill set, And how much I earning from?
I will show you with proof in details. Because I am doing freelancing for 8 years,
And I have great experience in freelancing, therefore I am thinking that I share my experience with you. so you can build your career in freelancing. If you are new to this channel then subscribe to our channel and press the bell icon to get latest video notifications. so let’s start our course’s first-class. Intro Music So, friends when we open photoshop, we can see this type of interface,
You will see “Create a document” option and below “Open Document ” option. If you didn’t create a document before, then you can click here and create a document.
And if you create it before then you can open it. So if you want to create a document, then you have to click on “new document” button or
you can go to file and click on a new document and create a document. To create a new document, click on “new document” we can see a window like this. there are so many presets built-in here. These are photo presets, these are different sizes of photos, And these preset of print, this for art and illustration.
In this, some web-related presets, if you design some website you can use it, for mobile applications, film, and video too. now we talk about the photo so we press on photo presets, there is some ready to use like 7×5 inch.
we select it, on the right side, here is a size mentioned width 7 inches height 5 inches.
you can go in pixels, cm, inches, and picas. And here you can set the value inches cm whatever. Below you can see the options for oriantation “portrait or landscape”.
when we click on portrait height is 7 inches and the width is 5 inches,
And if i click on landscape height and width will be changed. We will go with landscape. Along with this, you can see the art box of a checkbox.
we will explain it in the future videos an what is the benefit of it. Below You can see the resolution option if you design a web banner, header, slider anything then you fix 72 or 100 resolution. If you creating document for print media you can set it 300. In the drop-down, you can set a pixel per inch option. Below drop down you can see background colour mode. And the below option is background content,
in this option, you can see black and white and background default, you should set only default color.
we set the white background and create the document when we create we can see white background document on the screen. you can see document tab as “Untitled 1″ because we did not mention any name. therefore it is untitled 1. now we save it first, we go into ” file” and click on “save as”.
Click on your designation directory and give the name and save your required format like PSD, JPEG, PNG, we save as PSD. Because in PSD all the layers save and you can edit in future as you required. When we save our document, you can see document has been renamed. If we want to add an image then we go to “File” option and click on “Open” or use option “Place Embed”.
Click on file>Place Embed, and choose your image and place it. On the right side, you can see layers section you can see 2 layers
one of them is the background layer and the second is our embedded image. If we want to resize the image we press & hold “shift” key and drag from 1 corner and resize it.
If we didn’t press the “shift” button our image stretched and damaged its shape.
Press “Shift” button is necessary to resize the image if not perhaps our image loses its aspect ratio. After resizing we release the “Shift” button and place image anywhere as you want.
By pressing double click or click on the “Tick” option we can deselect the image selection. Now we embed one more image. If you want to move image upward or backward.
Simply go to the layer section and drag the layer and drop it under the other image. One more thing, right side on every layer is an “eye icon”.
By pressing the icon you can hide and visible any layer. Now we learn about how can I open a document.
We go to File>Open, Select an image and click “open” the image will open as a document. Now you can see two tabs on top. By pressing any tab you can switch the document. Now we open another image and you can see three tabs on top.
By pressing any tab you can switch the document.
First, Second, Third. Now you can see the first document we made there is a white background layer and two images layers.
And if we go to second document there is no white background layer.
Same with third document. it shows that the first tab document we create our self with white background and two images layer by layer.
Other two document do not have white background because we directly open image as a document. We can see three tabs now. If we want to close any document, you can see a cross sign.
Click on it our document will be closed. One more thing, When we close this document which contains three layers, a dialogue box will appear from photoshop,
which indicate us to save the document before closing it.
Why this box appears because we make 2 changes in this and haven’t saved it. If we press on “yes” document will saved,
And if we press “No” then the document will not be saved but will be closed. If we press the “Cancel” document remain open in Photoshop.
We press the “Cancel”. Now we can see 2nd tab has a cross sign but, If you notice that first document have a little star sign.
Star sign indicate us that our document is not saved. If we save it, you see star icon disappeared. Now we press the “close” button to close the document. If we make any changes on the image you will see little star icon appear again
because we make a change and not saved it. 2nd method of closing the document, go to “File” and click on “Close”. In this video, we learned about how to create a document, open, Save and close.
My Next video will be about the Interface of photoshop. How many tools in it and how it works. So let’s meet in our next video.
Allah Hafiz

Photoshop 3D Tutorial – Photo Realistic Picture Frame

Welcome to the Photoshop Training Channel.
Today, by popular demand, we have another Photoshop 3D tutorial. I’ve been getting a
lot of emails and Facebook messages, asking me to do more 3D tutorials. So, today, we’ll
look into creating this picture frame, completely in 3D, and incorporating it into this stock
image of a living room table. We’ll start out with this image I took while
at dinner a few weeks back. Then, we’ll add a white border, which will become the frame.
We’ll turn this image into a 3D object, and then, we’ll change the Extrusion Depth and
add a Bevel to the image. Using contours, we’ll add the appropriate shape to the picture
frame, and then, using materials, we can apply the appropriate colors. We’ll complete the
effect by placing the picture frame within the background image, and apply the appropriate
lighting and reflections to make it as realistic as possible. Before we get started, however,
I want to make sure that you’re all seeing what I’m seeing. So, go into Window, Work
Space, and make sure 3D is checked, and click on Reset 3D to reset all your panels so that
they’re aligned in this fashion, here. Okay, let’s get started. The first thing I’m
going to do is open up my image. So I’m going to go into File, Open, and open this image
titled “picture.” And this is a picture I took with my cellphone in San Francisco, right
outside of a restaurant called Cliphouse in San Francisco, California. It’s a really nice
restaurant with a great view and I did not Photoshop it. It was just a beautiful sunset,
and I decided to take a picture. So what we’re going to do with this picture is create a
frame around it in 3D and we’re going to place it into a scene so it looks like a picture
frame laying on a table. So the first step is to create the actual frame. So, to do that,
I’m going to extend my canvass 100 pixels in each direction. To do that, I’m going to
go into Image, Canvass Size, and my Width is 1097 and my Height is 617. Now, I can do
the math and I can just add 200 pixels to 1097, which will be 1297, and add 200 pixels
to 617, which will be 817. But there’s an easier way to do this. You don’t have to do
the math. If you just click on the Relative check box, you can just add those 200 pixels,
and notice that Photoshop did the math for us and automatically added that. If that wasn’t
there, you can simply add 200, and then, leave your anchor point to the center, and make
sure your canvass extension color is set to white and press OK. And that adds 100 pixels
on each side on the top, the bottom, left, and right. So, we’re going to use this white
space to create the frame in 3D. I’m going to click on my Layers panel, and notice that
everything is in one single layer and it’s in a background layer, which is locked, which
is what you want to have. If you have different layers, or it’s not a background layer that’s
locked, simply go into Layer, Blend Image. After that, go under the 3D menu and click
on New 3D Extrusion from Selected Layer, and it’s going to turn this layer into a 3D layer.
And, by the way, I’m going to press Ctrl S, or Command S to Save. It’s always a good idea
to save as you’re working, especially in 3D, okay? So now that I have everything saved,
what I’m going to do now is I’m going to click on my Scale Tool, which is this one right
here, the one that’s got the icon on the camera. I want to come to the bottom left and settle
this square, and I’m going to click and drag to Zoom Out, like so. So that way, I have
some space and I can work with this. Then, I’m going to click on my Rotate Tool, and
I’ll rotate the image just a little bit, just so you can see what’s going on. So, notice that this is now a 3D object and
what we want to do is we want to flatten this and then, we’re going to use this white space
and turn that into a picture frame. So, the next step is to click on the background layer,
and we’re going to change the Extrusion Depth to zero. Click on the Background layer once
again, and notice that this flattens. If I rotate the image, if I come into the square
and rotate, notice that it now looks like a flat piece of paper, which is what you want.
Then, we got to make an Extrusion out of the white part of this image. To do that, I’m
going to click on Cap, and we get this HUDsóHeads Up Displays, and you can Click and Drag these
to create different Inflations or Bevels or Angles. The one we’re going to be using for
this tutorial is the Bevel Width. So, click on the left yellow icon here. Click and Drag
that to the right and you’ll notice that the image will start popping out, like so. Once you go pass the edge of the image just
a little bit, stop there, in this case, it was 26.6. You can use this if you like or
you can use a Bevel Width, here, on the side. So, you can Click and Drag this if you wanted
to, but I’ll leave it at 26, and I’ll go ahead and rotate that, just so you can see what
that did. It just extruded that out, okay? The next step is we got to create the edges
and grooves that picture frames have. To do that, you’re going to use a Contour Tool here,
and you can click on each one of these, and notice that you get a different 3D Extrusion
depending on which one of these you click. This is essentially a Curves layer, so you
can double click on this and then, Click and Drag the points if you wanted to. But the
one that I’m going to use is the one, here, on the bottom right. This one here called
Rounded Edges. I want to click on that, and notice that it now looks more like a picture
frame, as you can see there. And what I’m going to do now is I got to give this a material
that looks like wood. To do that, I’m going to click on my background Front Bevel, this
layer here, and I’m going to select this material, right here, on the bottom right called Wood
Redwood. If you don’t see it, click on the fly out menu and select Default, and then,
just press OK. And you don’t have to save your current materials if you don’t want to;
I’m not going to. I’m just going to click “No.” It’s going to look the same for me because
I was already in the Default Materials, but once you set your Default Materials, select
the one on the bottom right, here, and notice that it immediately applies that material
to the Extrusion. You can use whichever one you like, any of these others, but I found
this material looks better in this particular effect. Now that we have this selected, our frame
is pretty much completed. We’re going to make a few changes in a little bit. What I’m going
to do now is I’m going to bring in the background. So I want to go into File, Place, and I’m
going to select the background image and click on Place. My background image is not as big
as my background, so I’m just going to hold Shift, Alt, and Click and Drag one of the
corners to scale this image, so it fits into my background. Press Enter. Go into my Layers
panel, and I want to Click and Drag the background image above my frame, and I want to rename
this layer “frame,” just so I can reference it better as I’m talking to you guys. I’m,
also, going to press Ctrl S on my PC, or you can press Command S on your Mac, to Save the
image. And what we have to do now is we got to place this image better on to our composition.
I’m going to double click on my frame 3D layer, and what we have to do now is we have to make
sure that this ground plane matches my background. So, I’m going to Click and Drag on this square
and move my ground plane around. The first thing I need to do is make sure
that my horizon line, which is this gray line here, matches the background’s horizon line.
I don’t really know where the horizon is on this background image, but I know that it’s
somewhere in this general area. So, that’s okay, I’ll leave it there. Next, I got to
make sure that these lines, and, actually, let me move this to the side so you can see
better. These lines have to somewhat match the vanishing point of this image. So, you
can tell where the vanishing point is if you follow this line, here, and you follow the
edge of the table here, to somewhere around this point. So what I’m going to do is I’m
just going to match one of these lines to follow the line here. So I’m just going to
Click and Drag that to the side there, and I know my horizon line is moving, but I can
bring that back up. And if this square is a little too hard for you to work with, click
anywhere outside the background layer, like here, and you’ll notice this selection around
the canvass. And you can just Click and Drag back here if it’s any easier for you. So,
I’ll try that; so, somewhere along there. Notice that my horizon line is back where
it was and this line is following, more or less, the perspective of this image. Again,
you don’t have to be perfect. As long as you get it close enough, you’d be able to fake
the effect. Then, I’m going to click on my Drag 3D Tool and drag this down to place it
closer to the actual table, so that the picture frame looks like it’s sitting on the table. So now that this is pretty much where I want
it, I’m going to click on my frame. I’m going to move it along this Z-axis to move it back,
and then, move it this way a little bit. And it’s a little too wide, so I’m just going
to scale that down, so I’m going to scale it on the Y-axis just a little bit. Bring
it this way, like so. I’m just looking at the yellow box, here, and then, clicking and
dragging to the left, like so, to bring the scale in a little bit. And I’ll probably move
it back along the Z-axis just a little more, and move it on the X-axis to the right a little
bit. Also, now that it’s here, I’m going to rotate it. I don’t want it looking straight
at me, so what I’ll do is I’ll rotate it a little bit to the right, like so, and I’ll
rotate it back, as well. Oops, actually, that’s not rotating it back. That’s rotating it side
to side. I’ll rotate it back a little bit because picture frames are usually kind of
leaning back a little bit, like that. So I’m going to go ahead and deselect that, and as
long as you’re on the edge of the table, you’re fine. I’m going to press Ctrl S to Save once
again. Actually, everything’s looking pretty good, but I still think that I’m a little
too close to the edge of the table, so I’m going to click on it again, and move it back,
like so. And I’m just looking for a good place to put this, maybe, here. We’ll just put it
there on the edge of the table, and that’s where we’ll leave it. And I’m going to click
on my Marquee Tool to get rid of all my 3D Tools. I’m going to make a selection around
my 3D image, and I’m going to do a quick render just to see what we got. Okay, so, now that we did this render, there
are several problems with the image. Number one, the image is looking a little washed
out, so we have to fix that. The shadow is not quite matching our scene, so we have to
fix that. And we have to add a reflection like everything else in the scene has a reflection
on the table, so we have to add that same reflection here. So let’s take care of one
problem at a time. First, let’s fix the way this image looks. To fix this, we’re going
to click on our Front Inflation, and we’re going to change our shine to 100%, and that
gives it the contrast it originally had, and it makes the image look much better. Next,
we have to fix the shadow. If you noticed in our scene, there’s not really any shadows
anywhere on the table, at least, maybe just some shadows, here, under this, but not really.
So, I think, it would be best if we just get rid of the shadow. So I’m going to click on
the environment and I’m going to click on my shadow’s Opacity, and just take that down
to 0%. I’m going to scroll down here, and we need some reflections. So, I’m going to
add a reflection. We’ll make it around 46% or so, and if I Click and Drag, and Render
this, you’ll see that the reflection starts appearing on the table. Now, the problem with
this reflection is that it’s very sharp, and it goes off to the edge of the table, here,
on to the bottom, and even a little bit on the floor, so we got to fix that. But, before we do that, let’s try to match
this reflection to the reflection of everything else on the table. One way of doing that is
to increase the Roughness. So, I’m going to increase the Roughness about 16 or so percent.
I’m going to go ahead and render this, once again, just so we can see what we’re working
with, and we make the appropriate changes. Okay. So this reflection is looking much,
much better. I think it might be just a little too rough, so I’ll just make this 12% and
I’m just going to render just the reflection. I’ll just do it a little bit faster this time.
I’m just going to stop there. I don’t really need to render this side. I saw how this side
looks, and it’s looking pretty good. It’s pretty much what I wanted, so I’m just going
to leave it there, for now. But feel free to play around in your composition if you
want to, okay? So, the next step is to hide the reflection of the edge of the table. So,
to do that, we’re going to go into our Layers panel. Under Frame 3D Layer, we’re going to
add a Layer Mask and I’m just going to draw with a black soft brush on the bottom, here,
just like so; just deleting those pixels. Maybe I’ll make it better transition there.
Actually, I’m going to fill it with white now and I’m just going to bring some of that
that I took away, that I think I need, and that’s what our reflection looks like there.
It’s looking pretty good. Now, one of the things we have to do now to
match this 3D object to our scene a little bit better is match the color of the wood.
So I want to take the colors from here and put them on our frame. So, what I’m going
to do is I’m going to select my Eyedropper Tool, and select one of the bright colors
here. And, actually, the reason I’m not getting a color here is because on my Layer Mask,
I’m just going to click on the actual layer or better yet, on the background layer and
select one of these lighter colors; something like that. And, for my background color, I’ll
select one of the darker colors, maybe that color there, and I press OK. So we have our
light color and our dark color, and we’re going to use this in a moment. Now, I’m going
to double click on my 3D Layer. I’m going to click on the background front bevel and
under Diffuse, I’m going to click on this icon, and click on Edit Texture. And this
is our texture here. This is what’s creating the wood in that texture. And, by the way,
a little quick tip here. I want to show you how this was created. I’m just going to turn
off all the Smart Filters and I’m going to turn that layer off. So the designer that
created this, all they did is created this white square, then, they added Fibers, Motion
Blur, a Zigzag Effect, and Polar Coordinates to create that texture. Then, they added a
Gradient Adjustment Layer to give it this color. So, what we’re going to do is we’re just going
to change the gradient map, and, by the way, I’m going to click on the icon here, so I
can see the colors over here. Earlier, I was on my Layer Mask, which gives me just black
and white. But if I click on the icon here, I get the colors I selected just a moment
ago. So I’m going to double click on this Gradient Editor. I’m going to double click
on the lighter reddish swatch here, and I’m going to select the lightest color. Press
OK, and I’ll do the same for the darkest color and click on the background color here. Now,
I’m noticing that there’s not much contrast, so, maybe, I want to just darken it up just
a little bit, see how that works, then, I’ll press OK. I’m going to press Ctrl S or Command
S on the Mac, to Save. Then, I’m going to go into my layer, here, which is the picture
psd, and notice the color changed a little bit. I’m going to go ahead and render that
in, see how that’s going to look. I’m just going to stop it there. The colors are better,
but they’re still not quite there. So what I’m going to do is I’m going to make them
just a little bit lighter; maybe the lightest color needs to be just somewhat lighter, and
this one, as well. I’m just kind of eyeballing it here, and you might have to play around
a little bit to get the right colors going there. And, by the way, I just pressed Ctrl
S, and I’m going to go back and select my picture layer, and it’s still not looking
the way I want. You know what? I just thought that there’s
this weird shadow thing here. I’m not exactly sure what that is, so let’s figure that out.
I’m guessing that’s part of my environment. Well, I don’t think it’s my shadow because
my shadow is there. Let me see if it’s my reflection, so I’m going to just shut that
down. Yeah, and that’s my reflection. I’m not exactly sure what’s causing that. Okay,
so, I think the problem is the Infinite Light, so let me just move this. Even though we shut
the shadows off, and, yeah, that’s what the problem was. There was this weird glitch going
on here. I know we turned off the shadows, but the Infinite Light was still showing,
so I just have to move that just a little bit, and, you know what? Now that I did that,
let me just fix the light here, because we do need to fix the lighting for this scene.
The lights coming from this window, so it’s probably going to be lit, you know, something
like that, I would say, and I’m going to click on my Marquee Tool. I’m going to do a quick
render just to see how everything is looking. And, it’s still a little dark here at the
bottom so I might want to fix my Infinite Light again. So I’m just going to click on
that and lighten it up a little bit, maybe, like that. And, you know what? Now that we’ve been working
with this, I feel like I have to move this back, just a little bit, it looks like it’s
too close to the edge, maybe, something like that, I would say. And make sure that this
is on the table; that it’s not like going all the way down, like so. So, maybe, like
right on the ground plane, like right there, something like that. So I’m going to render
this once again. Yeah, and I think this is looking much better. I like this position
better. I like the reflection better, and, I think, things are looking pretty good. The
only thing I would do now is, maybe, try to match these colors just a little bit more.
I’m not going to take the time to do that. You saw how we were doing that earlier just
by clicking on that Gradient Map. So, you can keep doing that if you want to. I’m just
going to stop there. Now, another thing you can do is you can go back into your layers
panel, and you can add an Adjustment Layer to the background. For example, you can add
a Curves Adjustment Layer and do the S-curves that I love so much. You probably see me do
them in just about every tutorial. I just like to use them to give contrast to images,
and I can do the same thing to the Frame Layer. So, I’ll add another one, but this time, I’ll
add a Clipping Mask. I’ll hold Alt in-between both layers until I get the down pointing
arrow at the square next to it. That’s Option on the Mac, by the way, and, by clicking between
both of them to create that Adjustment Layer, and then, you see this little down pointing
arrow here, and you can make adjustments to the Frame Layer as well. And, if you wanted
to, you could also control the colors of it here. And, although I like the way this is
looking, it might be a little too much contrast, so I’m just going to bring the Opacity down
and leave it there. And this is the result. This is how you create a picture frame in
3D and add it into an image. And that’s it for this tutorial. As always,
I hope you enjoyed it and that you learned something new. Leave any comments or questions
down below, or head over to my Facebook page, and leave them there if you like. Also, feel
free to share with me any designs you come up with using this technique. I would love
to see your stuff. And don’t forget to subscribe to my free newsletter, where I provide “subscriber
only” content. Just enter your email address in the box in the top right side of my website Once again, thanks for watching, and I’ll talk to you
guys again, soon.

3 Ways to Convert an Image to Seamless Pattern! – Photoshop Tutorial

3 Ways to Convert an Image to Seamless Pattern! – Photoshop Tutorial

I hope you’re having a great day and making
it an awesome one. Thank you so much for watching this video. It truly means the world to me. Before we talk about Seamless Patterns, let
us first understand what the hell is ‘seamless’. So ‘seam’ basically means ‘the edge’. Here’s the Google definition of it. So ‘seamless’ obviously means ‘one which doesn’t
have an edge’. However, you cannot convert any texture directly
to a seamless pattern. Let me explain. So this is a pretty looking texture, right? So if we select all of it, and then we go
to Edit and then Define Pattern, and let’s say we name it ‘Concrete’. All right, let’s hit OK. Now let’s test the pattern. Press Ctrl or Command + D to deselect that,
and then click on the Adjustment Layer icon and let’s choose Pattern. The same pattern is going to show up that
we just created. At the moment it looks just fine. However, as soon as we change the scale to
something like 50, look, or let’s go even lower, 20. Right. This is a pattern, but you see the edge. If you just zoom in, you see these edges,
right? Let’s increase the size of that we can see
it more clearly. If you just zoom out, the edges are very clearly
visible, which means the seam is visible, which means it is not seamless. It does have a seam. So today we are going to learn how to convert
these textures and pattern images into seamless patterns – how to make them seamless. It’s going to be fun. So without any further ado, let’s get started. Here we are back in the brilliant world of
Photoshop and although there are tons of ways to create seamless patterns, today, I’m going
to share with you three examples. And any other photos that you want to download
from this tutorial, all you got to do is check the link in the description. So let’s take a look at this photo. First of all, to check whether this is going
to translate into a pattern well, you can use the Offset Filter. So with the Background image selected, you
can go to Filter, and then Other and then just select Offset. Once you choose that, you can actually check
Wrap Around, and then if you just increase or decrease the Horizontal and Vertical, the
image shifts. If it’s not clear to you, let me just show
you what it does. So this is the original image. As I increase the Vertical, see, the image
comes down and comes back from the top and you can see the edge very clearly. It’s not aligning properly, which means that
if we convert this into a pattern, that’s going to be a problem. Let’s try the Horizontal. The horizontal is pretty okay, but you can
still see the edge. Look at that. It’s so crisp and clear, the vertical edge,
right? So we need to make sure that both of them
align properly. For the vertical one, we can clearly cut it
off and crop it nicely, but for the horizontal edge, look at this, we need to fix it. We need to do something to fix it. Let’s start with the vertical. Hit Cancel. This was just for checking. You saw that the edges were not matching. And the reason was probably it’s not straighted
well. So first, let’s start with straightening it. Press C for the Crop Tool, and then at the
top you will see Straighten. Just click on that and choose any one of these. And I’m going to choose this line, going to
click and drag and create a straight line along that line between the wood. Alright. It seems to be a little straightened. Hit Enter or Return to apply the change. Now, we need to crop it well. With the Crop Tool still selected, click on
the middle to bring up the crop. And then I want to bring this a little bit
inside so that it starts with that edge. Check till the top whether there is some area
left out. See, there is some area left out. So we’re going to take it even further. And here as well, I think, there are some
areas left out. Take it even further. Let’s do the same in this area. We’re going to start with that edge. Let’s take this. If you want to keep the white, you can, but
I’m just making sure that it’s all well aligned. Once the edges are well defined, hit Enter
or Return and also make sure, at the top, I would always recommend to keep it checked
off, which is Delete Cropped Pixels. But in this case, I want it to be checked
on so that you can check it well with Offset. If you keep this checked off, these areas
on the outside of the crop will not be deleted, which can be a good thing and for the most
part, it is a good thing. But in this case when you’re creating a pattern,
just make sure it is checked on and hit Enter or Return. Now don’t forget to check it off later for
your future projects. Now, let’s try the Offset again. Let’s go to Filter – Other – Offset. Forget about the Vertical. Let’s look at the Horizontal. Horizontal is fine, right? We are not seeing any edges. It’s all looking great. But we still need to work with the Vertical. As we are bringing it down vertically, look
at the horizontal edge. It’s just not matching. So we need to do something for it to match. What if we bring the top area of this image
and invert it and place it at the bottom? That way, it would exactly be the same, right? So, with the background layer selected, press
Ctrl or Command + J to make a copy of it. Now press Ctrl or Command + T to bring up
the Transform, right click on it and choose Flip Vertical. All right. What we want in this layer is only the bottom
area, just this area. So click on the Mask button, and we just want
to keep the bottom, right? So let’s take the Gradient from black to white
and let’s create a very simple gradient. So just the bottom area is changed and placed
with the top area inverted. That’s what it is. You can play with the gradient to see what
suits the best. Once you have done all of this, one other
thing that you can do at the end is that, it looks perfect by the way. One other thing that you can do here is, you
will see some repeating pattern, look at this dot, right, look at this dot, it appears again. So when you change this to a pattern, it will
give the viewer a sign that this is clearly a pattern which is repeating again and again
and can be disturbing. So what you can do, you can create a brand
new layer at the top and with the help of the Clone Stamp Tool or the Healing Tool,
so I’m going to choose the regular Healing Brush Tool, just remove some of these dots
and irregularity so that they don’t repeat again and again and make it uneven. Just break away from the patterns. There you go. Let’s remove them and let’s keep them in the
bottom. The goal is not to make it look like it has
been inverted and placed at the bottom. Also, the goal is that when it’s repeated
again and again, the same patterns or the same dots or irregularities don’t show up
again and again. So you can take all the time in the world
to clear these up. See, this is repeating. See this irregularity. See it’s repeating again and again, so we
need to remove one of these. All right, I think it’s enough. You can extend it even more if you wish to. Once you have made all the changes, let’s
create a Stamp Visible Layer at the top. So press Ctrl + Alt + Shift + E or Command
+ Option + Shift + E. This creates a merged layer of everything that you see in the canvas
right now. Now, you can select all of it or leave it
at that. So I’m going to select all of it by pressing
Ctrl or Command + A, or if it’s small, it might be useful to also press Ctrl or Command,
hold Ctrl or Command and click on the thumbnail. It will also select all of it. And then let’s go to Edit and then Define
Pattern. Now, let’s name this ‘Colorful Wall’. Hit OK. Now let’s test this pattern. You can test it in the same image or a different
image. I’m just going to create a pattern. Click on the Adjustment Layer icon and then
choose Pattern. It’s going to create and it’s going to show
the pattern that you last created. And at the moment, it’s looking fine. And also if we just decrease the scale, it
will look fine. And here’s the great part, you can move it
any which way you want. You can take it up, you can take it down,
you can take it to the left and right. Even with scale 100, you can just adjust it
according to your taste. Move it up, move it down and it will look
fantastic, because we have removed what? The seam. Thus making it seamless. It’s time we move on to example number two. Sometimes you might have an image which is
already well established as a pattern. However, you cannot directly convert it to
a pattern. Have a look at this. Let’s test it with Offset. So let’s go to Filter – Other and let’s choose
Offset. So if you have a closer look at this area,
see, it suddenly ends, right? See this line, it suddenly ends right there
and something just doesn’t feel right even though it is a well established pattern. Probably it’s not cropped right. So we need to find a starting point and an
ending point such that after the ending point, if the starting point repeats, it looks seamless. Makes sense? No? Let me show you. So first of all, let’s hit Cancel. And we need to find just a starting point. This would do. Look at this area where this area starts and
we need to make a selection of it. Select the Rectangular Marquee Tool right
there and then just zoom in and find a starting point. So this seems to be a good starting point
and I’m going to start from right here, from the very first pixel. So this seems to be a nice place. Let’s create a rectangle. Now, we need to transform the selection and
stop at a point where just this area repeats. So right click inside the selection and choose
Transform Selection. Now let’s drag it to the right. You can make it bigger if you wish to, just
a little bigger, and drag it and find where it repeats. See, it repeats again right there and stop
before the very first pixel. So let’s drag it and stop about right there. This seems to be right. Let’s do the same for the top and the bottom
as well. So let’s drag it. This seems to be a good starting point. So I’m going to start right there. And just end where it repeats. See it repeats right there. And we’re going to end it just above that
area. Once you’re satisfied with, I think I need
to move it a little bit to the top. Be very careful with this. Once you are satisfied with the selection
transformation, hit Enter or Return. Now you have this selection. You can move it to a brand new layer by pressing
Ctrl or Command + J. Now you could have done it in the same layer, but it’s always good
to have the pattern on a separate layer. Anyway, hold the Ctrl or Command, click on
the thumbnail to make a selection of that and then let’s go to Edit and Define Pattern. You can just name this ‘Abstract’, hit OK
and let’s now test this pattern. Ctrl or Command + D, click on the Adjustment
Layer icon and then choose Pattern and it will show the last pattern. Even if I decrease the scale to, let’s say,
53, see, there is no seam. Zoom it. Zoom on it and check. You will find no seam. Everything seems to be perfect in this case. Coming back to the texture that we witnessed
in the beginning, let’s start with third example. If we just directly convert this into a pattern,
it didn’t work as we learned. Let’s check with the Offset. Let’s go to Filter – Other – Offset. See, the edges are showing up. However, this time, we are going to use Offset
to our advantage. So let’s try to put this along the middle. So it is somewhere in the middle, it’s okay. You can play with the Vertical. Once it’s around the middle, you don’t have
to be accurate about this, this is just for your reference, hit OK this time. Now all we need to do here is to remove these
lines. The top and the bottom and the sides, the
left and the right are already seamless because we have actually brought them, we have actually
slided them and the edges are the ones that we need to fix. So, very easy to fix in this case. We just need to fill it with Content-Aware
Fill. With the Rectangular Marquee Tool selected,
let’s create a selection around it. All right, and let’s add to this selection
by holding the Shift key and then just add this line as well. All right. Is there any other extra area that you need
to add? I think this white area might be a disturbance. Let’s add that. Any other area? It seems to be nice. Once the selection is made, let’s go to Edit
and then Content-Aware Fill. This will be shown in Photoshop CC 2019 and
above. If you don’t see it, you can just go to Fill
and then choose Content Aware. So we are going to go to Content Aware. It shows you a lot of options to fill up these
areas. You can play with Color Adaptation, Rotation
Adaptation and all of that stuff. However, in this case, I’m going to leave
it to default values and it does a pretty good job in this case. Hit OK if you’re satisfied. If you’re not, you can change the values and
see what looks good to you. Hit OK. All right, now that area is filled. Now let’s try converting this to a pattern
to see if there are any changes we would like to make in this case. So let’s select all of it or you can also
directly do it by going to Edit and then Define Pattern and we can name this ‘Concrete Wall
Draft 1’. Alright. Now, click on the Adjustment Layer icon and
then choose Pattern and decrease the scale to about 40%. Let’s see if we see any issues. Well, this looks pretty seamless. However, there is one thing I see. See this white blob? That’s something we need to fix. So hit Cancel for now and have a look. Do you see the white blob at the top? I do. So let’s make a selection around it. You can use the Rectangular Marquee Tool or
the Lasso Tool. I’m just going to make a selection around
it or anything. Just zoom out and see if anything looks like
it will repeat and look bad. These are some areas that we need to fix. Now, once you have made the selection, you
know what to do. Let’s go to Edit – Content-Aware Fill and
hit OK. Done. Now let’s try to convert this into a pattern. Let’s go to Edit and then Define Pattern and
you can name it whatever you want – ‘Concrete Wall Final’. Hit OK. And now, let’s test it. Click on the Adjustment Layer icon and then
choose Pattern. And this time let’s set the scale to about
40%. Yes, it looks so much better. Now there are areas like these that I would
like to remove. But anyway, it looks really good. Now you can also use Curves Adjustment Layers
and burn this area just a little bit, make it a little darker, and then create a pattern. It’s just a lot of trial and error here and
there. But it’s a pretty good pattern. You can just put the scale to about 60%. And the great part is you can move it around,
which is amazing. You can just adjust it according to the subject
if you’re using this as a background. So that’s how to transform any, actually,
convert any texture or pattern image into a seamless pattern. All you have to keep in mind, and the basic
goal, is always to remove the same. Also, it’s important that you remove the stuff
that stands out too much because when you convert that particular image into a pattern,
that standing out feature is going to repeat again and again, and it’s not going to look
good. Like in the last example, we had that white
blob that we removed? It’s important to remove those distractions. In this video, we did learn a few tricks. In the first example, we learned the art of
inversion, right? So we took the top part of the image, inverted
it and put it at the bottom to make it seamless with the help of the Gradient Mask. Remember? In the second example, we properly cropped
it so that we could have a proper starting point and an ending point, and after the ending
point, if we put the starting point, it should look seamless. And in the third example, we simply used Content-Aware
Fill to cover the seam. I hope this video helped you in some way or
the other. If it did, make sure to give us a like and
also don’t forget to subscribe and not just subscribe, ring the bell so that you, my friend,
don’t miss any other future tips, tricks or tutorials. I would like to take this moment to thank
all these nice and amazing people for supporting this channel on Patreon and helping keep PiXimperfect
free for everybody forever. Thanks so much for all your support. Thank you for watching. I’ll see you guys in my next one. Till then stay tuned and make sure that you
keep creating.