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Deke McClelland | Photoshop CS5 Top 5 [2010] [EN] PCRec

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Автор (режиссер): Deke McClelland
Название: Photoshop CS5 Top 5
Год выпуска: 2010
Жанр: Графика Photoshop
Язык: EN
Качество видео: PCRec
Продолжительность: 01:08:00
Видеокодек: Advanced Video Codec (AVC)
Битрейт видео: ~1121 - 1635 кбит/с
Размер кадра: 1280 x 716
Аудиокодек: Advanced Audio Codec (AAC)
Битрейт аудио: 96,0 Кбит/сек 2 канала 48,0 КГц

Описание:
Deke McClelland популярный лектор по Adobe Photoshop и один из гуру компьютерной графики и дизайна. Он выпускает множество видеоуроков по Photoshop и Illustrator для лидеров обучающей индустрии lynda.com и Total Training. Вдобавок к видеоурокам Dekeнаписал более 80 книг, переведенных на 24 языка тиражом более 4 миллионов. Туда вошли многие книги из серии "для чайников" и одна из самых популярных книг в мире Photoshop Bible.
Deke McClelland предлагает посмотреть его видеокурс Photoshop CS5 Top 5. Каждый день в течение пяти дней он создавал видеоурок по новой версии Photoshop CS5.

* Straighten button. Draw a line along the horizon of a crooked photo with the ruler tool, then click the new Straighten button to both straighten the image and crop away the excess. Alt- or Option-click Straighten to skip the crop.
* Rule of Thirds. The crop tool boundary now includes a Rule of Thirds grid for composing your cropped photos.
* Content-Aware Fill. Heal any selection using the new Content-Aware Fill option, which sources multiple points outside the selection and adds a bit of surface mapping as well. (We'll see more of this feature on Thursday.)
* Multi-layer Opacity. Select multiple layers and change their Opacity values all at once. Which is great, though I wish it also worked with other appearance attributes (e.g., blend modes and layer effects).
* Layer FX defaults. When applying a layer effect, you can save your settings as the defaults for future versions of that effect.
* Paste in Place. The new Paste in Place command pastes a selection at the coordinate location from which you copied it.
* Auto-select Adjustments parameter. When creating or editing an adjustment layer, you now have the option of automatically highlighting the first numerical value (a.k.a. parameter) in the Adjustments panel. Or just press Shift+Enter. (Note that Adobe added this option in response to a comment posted here at dekeOnline. Power to the people!)
* Mini-Bridge. The Mini-Bridge packs much of the functionality of the stand-alone Bridge into a local Photoshop panel.
* Drag-and-drop layers. You can now drag one or more files from a desktop folder or from the Mini-Bridge and drop them directly into a Photoshop composition. By default, Photoshop places each file as an independent smart object layer.
* Close All for real. After choosing File > Close All, Photoshop prompts you to save any unsaved changes. CS5 offers an Apply to All check box, so that you can avoid the headache of answering one alert message after another.

This particular feature is the revamped-from-the-ground-up HDR Pro. Like the Merge to HDR feature in Photoshop CS4 and earlier, HDR Pro lets you combine two or more exposures of a single scene into an impossibly rendered composite, complete with wide-open shadows and richly detailed highlights. The big difference: Unlike Merge to HDR, which is about as easy to control and difficult to predict as an iPhone conversation, HDR Pro offers superb controls and delivers reliable results.

In today's video, I demonstrate HDR Pro and its essential Remove Ghosts option using a series of photos captured on a bright snowy day inside a dimly lit barn. The first image below shows a single exposure that I shot with an Olympus E-30 digital SLR; the second image is eight exposures from that same camera combined with the new HDR Pro.

Photoshop offers lots of masking options. But they’re not what Adobe likes to call “discoverable.” In other words, there’s no way in hell you’d figured out how to mask hair---using such unhair-sounding features as alpha channels, Calculations, and Overlay painting---unless a guy like me showed you how to do it.

Enter Photoshop CS5's revamped Refine Edge command (variously known as Refine Mask) that can grow a selection or layer mask into tendrils of hair and even get rid of the fridges of color around the edges so the hair looks right against a different background.

I’m not sure CS5's enhancement is any more discoverable than the dozen or so other masking options hidden throughout the software. I mean, c'mon, who among us equates "hair" with "Refine Edge"? (Oh wait, I know---no one!) But whatever you think of the name, the new and improved Refine Edge command lets you perfect your masks with a significantly higher degree of control than you’ve had in the past.

Photoshop is famous, if not downright notorious, for its ability to distort reality. Which is ironic given that most of us whose job it is to distort reality are frustrated by Photoshop’s meager collection of reality-distortion tools. I mean, there’s Liquify, there’s the Warp command . . . there’s Liquify. I ask you, where are all the fabulously terrifying distortion tools?

Well, in CS5, the folks who wring their hand about Photoshop's world-warping powers finally have something to wring their hands about. And it goes by the name Puppet Warp. Take the subject of an image, jump it to a new layer, choose Edit > Puppet Warp, add a few pins, and drag those pins anywhere you like. Photoshop stretches and twists and bends the image any way you want it to go. Even behind itself. Which, I gotta tell you, is truly weird.

But, hey: Puppet Warp is fun to use, it’s funny to watch, and it’s extremely powerful. If you thought you couldn't see your eyes before, just wait until you see the puppet warp.

In my final Photoshop CS5 Top 5 video, I show you Photoshop CS5’s most ambitious innovation, the new painting tools. You have the bristle brushes, which simulate real-world traditional art brushes, down to the quantity and stiffness of the hairs. And you have the mixer brush, which lets you mix your paint with a base photograph as if the photo were rendered in wet oils.

Today's graphic is rendered using Photoshop CS5's one new blend mode, Divide. And though I don't document Divide in this particular video, I assure you, these next 17 minutes and 36 seconds are going to divide your socks off.

Now a lot of you are going to look at the new brush options and think, "Hey, I’m a photographer, I don’t do painting!" Naturally, I urge you not to think that way; it just limits your creative freedom. But there is some truth to it. New or old, Photoshop's painting tools respond positively to a pressure-sensitive input device---such as the Wacom Intuos4 that I use in the video---and a little bit of raw talent.

In any event, you gotta dig the results. In this video, I transform a photograph of my editor and sidekick Colleen Wheeler into a hand-painted piece of art, complete with brushstrokes that look like you could reach out and touch them.

As for you artists, here’s the kicker: Each and every brushstroke draws its color from the image itself so there’s no need to mix a pigment or dip a brush.

Whatever your background, I believe you'll agree: The results are absolutely amazing.

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