#CreativeFriday – Lightroom 5.7 Commenting feature

Adobe Photoshop Lightroom 5 was updated this week (5.7 update) to include Lightroom Mobile Commenting. Essentially this enables you to collect your own comments from your mobile device or both your own/public comments via the Lightroom web based interface. Using the Lightroom web based interface, means that you can now collect comments and feedback from your clients, customers or your family and friends.

NB. Lightroom mobile is only available via the Creative Cloud Subscription (including the Creative Cloud Photography Bundle).

Within Lightroom on the desktop it’s simple to make your photographs (RAW, PSD, TIFF etc) files accessible on your iPad or iPhone or the web interface.

Let us take these images. They have all been selected (as you can see marked in yellow, as they have the light grey background).

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To add the selected images or to just create a new collection, click on the ‘+’ icon (marked in red) next to the Collection panel. A dialog box will be displayed, which will allow a Collection to be configured, and enable this Collection to sync to Lightroom mobile. In the dialog box, just give the Collection a meaningful name. The check box ‘include selected photos’ will make sure that all images that are selected in Lightroom desktop will be included, and the ‘Sync with Lightroom mobile’ check box will enable this Collection to take part in the Lightroom mobile activity.

Screen Shot 2014-11-21 at 06.22.22Once this has been actioned, Lightroom desktop will start to sync the files to the Creative Cloud (marked yellow), then publish to a private folder on Lightroom mobile. A new button has also been added (marked in blue), which will allow the Collection to be shared publicly. Anyone with the Public URL will be able to view the contents. (NB. the Collection will not be available to search engine crawlers, do you will need to provide the link to your viewers).

There is also a context menu available on the Collection, this is found by using a right click on the Collection name (marked in red above/below). Once the context menu is shown (see below), an option to access Lightroom mobile links can be used to turn on and control the mobile features. From here the collection can also be made public by selecting the ‘Share Collection’ or you can view the collection in the web view.

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Once the Collection has been shared, distributing the public URL from Lightroom desktop is easy. The public URL (as shown in green below) on on the Collection definition.

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The shared Collection also has a fly out menu (marked green below). Using a right click on the public URL, as shown below, allows copying it to the clipboard for pasting into other communication services (email, iMessage, twitter etc).

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In Lightroom mobile web view, the access type is shown by the Collection name. Notice the lock at the top of the page, this signifies that the collection is private and only available via your Adobe ID (both on the web and via Lightroom mobile on the mobile device).

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This collection looks exactly the same on the mobile device. Functionality for each collection can be found by touching the 3 dots (marked in yellow below).

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Once the 3 dots have been selected, a menu will appear.

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A new option to Share the web collection in Lightroom 5.7 has been added. Touching this option will show and enable the sharing options.

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Sharing will immediately make this collection viewable by anyone with the URL.

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The link is sharable directly from the mobile device as soon as the collection has been made public. Sharing options will utilise the iOS options, services like email, twitter, iMessage are available (plus others, depending on the apps that you have installed).

N.B. The collection can also be made non public at anytime, by Unsharing it.

Once the collection has been made public, it can be used to collect comments from the viewers.

When a viewer opens the Public URL they will be able to navigate around the collection and view single images at any time. On the bottom right hand side (marked in red), viewers can add comments as well as likes the image(s).

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Likes can be created by clicking the heart icon (marked in red below), and comments created by typing into the comments field (marked in yellow below). Likes and comments are show in the list above (marked blue and green below).

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Comments can be removed by the viewer, by hovering over the comment and a trash option will be displayed.

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Once clicked, the comment(s) will be removed.

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Once a comment has been added to an image, the comments will be synced back to the collection in Lightroom Desktop. A notification in yellow will be shown in the top left (marked in red), also, a small comments icon will appear on the collection (marked in yellow). A context menu is available by right clicking on the collection (as shown in blue). Selecting the Review comments will show the comments that have been added.

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Comments will be shown in the comments panel (marked in red), for the image (marked in yellow).

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Any comments that are received are also available on the mobile device

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Lightroom 5.7 and Camera RAW ACR 8.7

Lightroom 5.7 is now available as a final release on Adobe.com and through the update mechanism in Lightroom 5. This release provides support for additional camera raw file support, new lens profiles as well as a couple of reported bugs.

Features

Updates to Synced Collections:

Synced collections now show a more prominent share button at the top of the Toolbar. This allows you to quickly share your synced collection with friends, family, and clients using Lightroom web (http://lightroom.adobe.com).

Comments and likes left on Lightroom web now sync to the Lightroom desktop catalog. Comments and Likes will be shown in the “Comment” panel for the synced collections.

Images with comments and likes will display a badge icon, indicating that there are comments.  A colored badge  indicates that there are unread comments.

• Integrated utility to import images from Apple Aperture and Apple iPhoto libraries into Lightroom:

New Camera Support in Lightroom 5.7

Canon EOS 7D Mark II

Canon PowerShot G7 X

Canon PowerShot SX60 HS

Casio EX-100PRO

Fujifilm X30

Fujifilm X100T

Fujifilm X-T1 Graphite Silver

Leaf Credo 50

Leica D-Lux (Typ 109)

Leica M-P

Leica V-Lux (Typ 114)

Leica X (Typ 113)

Nikon D750

Olympus PEN E-PL7

Olympus STYLUS 1s

Panasonic DMC-CM1

Panasonic DMC-GM1S

Panasonic DMC-GM5

Panasonic DMC-LX100

Pentax K-S1

Pentax QS-1

Samsung NX1

Sony ILCE-5100

Sony ILCE-QX1

Newly supported cameras for Tethered Capture in Lightroom 5.7

Nikon D4S

Nikon D810

New Lens Profile Support in Lightroom 5.7

Apple iPhone 6

Apple iphone 6 Plus

Canon EF SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014

Canon EF SIGMA 150-600mm F5-6.3 DG OS HSM S014

Canon EF Tokina AT-X 116 PRO DX-II 11-16mm f/2.8

Canon EF Zeiss Otus 1.4/85 ZE

Fujifilm X Fujifilm X100T

Fujifilm X HandeVision IBELUX 40mm F0.85

GoPro Hero

GoPro Hero4 Black Edition

GoPro Hero4 Silver Edition

Leica M Leica SUMMARIT-M 35 mm f/2.4 ASPH

Leica M Leica SUMMARIT-M 50 mm f/2.4

Leica M Leica SUMMARIT-M 75 mm f/2.4

Leica M Leica SUMMARIT-M 90 mm f/2.4

Leica M SLR Magic 50mm T0.95 Hyperprime Cine Lens

Leica M Voigtlander VM 12mm F5.6 Ultra Wide Heliar ASPH.

Leica M Voigtlander VM 15mm F4.5 Super Wide Heliar II ASPH.

Leica M Voigtlander VM 21mm F1.8 Ultron ASPH.

Leica M Voigtlander VM 21mm F4 Color Skopar

Leica M Voigtlander VM 25mm F4 Color Skopar

Leica M Voigtlander VM 28mm F2 Ultron

Leica M Voigtlander VM 35mm F1.2 Nokton II ASPH.

Leica M Voigtlander VM 35mm F1.4 Nokton Classic

Leica M Voigtlander VM 35mm F2.5 Color Skopar

Leica M Voigtlander VM 40mm F1.4 Nokton Classic

Leica M Voigtlander VM 50mm F1.1 Nokton

Leica M Voigtlander VM 50mm F1.5 Nokton

Leica M Voigtlander VM 75mm F1.8 Heliar

Leica S Leica SUMMICRON-S 100 mm f/2 ASPH.

Nikon F Nikon AF-S NIKKOR 20mm f/1.8G ED

Nikon F Nikon AF-S NIKKOR 400mm f2.8E FL ED VR

Nikon F SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014

Nikon F SIGMA 150-600mm F5-6.3 DG OS HSM S014

Nikon F Tokina AT-X 116 PRO DX-II 11-16mm f/2.8

Nikon F Voigtlander SL 40mm F2 Ultron ASPHERICAL

Nikon F

Voigtlander SL 40mm F2 Ultron ASPHERICAL Close-up

Lens

Nikon F Zeiss Otus 1.4/85 ZF.2

Pentax HD PENTAX-DA 645 28-45mm F4.5 ED AW SR

Pentax HD PENTAX-DA 16-85mm F3.5-5.6 ED DC WR

Pentax HD PENTAX-DA 20-40mm F2.8-4 Limited

Sigma SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014

Sigma SIGMA 150-600mm F5-6.3 DG OS HSM S014

Sony Alpha SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014

Sony Alpha SIGMA 24-105mm F4 DG OS HSM A013

Sony Alpha Sony DT 18-55mm F3.5-5.6 SAM

Sony Alpha Sony DT 18-70mm F3.5-5.6

Sony Alpha Sony DT 55-200mm F4-5.6

Sony Alpha Sony 75-300mm F4.5-5.6

Sony Alpha Sony 300mm F2.8 G SSM

Sony Alpha Sony 500mm F4 G SSM

Sony E HandeVision IBELUX 40mm F0.85

Sony E SLR Magic 50mm F0.95 Hyperprime Lens

Sony E Sony FE 16-35mm F4 ZA OSS

Sony E Sony FE PZ 28-135mm F4 G OSS

Sony E Zeiss Loxia Biogon T* 2/35

Sony E Zeiss Loxia Planar T* 2/50

Bugs Corrected in Lightroom 5.7

The crop overlay displayed an intermediate step when progressing through images in the filmstrip with overlay displayed.

The lens profile for the Canon EF 16-35mm f/4 would not auto-select when using Lens Profile Corrections.

ICC profiles resulted in incorrectly clipped shadows and blacks in Lightroom. Note that this is related to the issue identified here and only occurs on Mac OSX 10.9 and later

Fixed crash when rapidly adding corrections with the Spot Removal tool.

Fixed bug that prevented the Filter Brush cursor from displaying while changing brush size when the Graduated and Radial Filter overlay is turned off.

Improved quality of Camera Matching color profiles for the Nikon D810. Fixes visible banding issues with the Camera Standard, Camera Vivid, Camera Landscape, and Camera

Monochrome profiles.

(http://feedback.photoshop.com/photoshop_family/topics/lightroom_5_icc_profiles_clipped_shadows_under_osx)

Context menu (right click on PC or control+click on Mac) was disabled for images contained in Lightroom mobile collections.

Fixed issue that prevented Lightroom 5 from reading Photoshop Elements 13 libraries.

Cover images set by Lightroom mobile were sometimes incorrectly reset by Lightroom desktop.

Sync with Lightroom mobile sometimes stalled when asset is added to same album on both Lr Mobile and Lr Desktop and later deleted

Resolved issue that caused Lightroom to crash when creating a Print and saving it to a mounted DVD directly inside Lightroom.

Publishing images to Behance using the Behance Publish Service has been restored.

Download Links:

Lightroom 5.7:

Mac 

Win  

Adobe Camera RAW 8.7

Adobe Camera Raw 8.7 is now available as a final release for Photoshop CS6 and Photoshop CC. This release improves performance when batch processing images, both through the Save button in Camera Raw and when converting images to DNG in the DNG Converter. DNG Converter 8.7 is also provided.

N.B. Updates to Camera Raw 8 for Photoshop CS6 only includes new camera support, lens profile support, and bug fixes. The new features listed in the release notes are only available in Photoshop CC.

New Camera Support in Camera Raw 8.7

Canon EOS 7D Mark II

Canon PowerShot G7 X

Canon PowerShot SX60 HS

Casio EX-100PRO

Fujifilm X30

Fujifilm X100T

Fujifilm X-T1 Graphite Silver

Leaf Credo 50

Leica D-Lux (Typ 109)

Leica M-P

Leica V-Lux (Typ 114)

Leica X (Typ 113)

Nikon D750

Olympus PEN E-PL7

Olympus STYLUS 1s

Panasonic DMC-CM1

Panasonic DMC-GM1S

Panasonic DMC-GM5

Panasonic DMC-LX100

Pentax K-S1

Pentax QS-1

Samsung NX1

Sony ILCE-5100

Sony ILCE-QX1

New Lens Profile Support in Camera Raw 8.7

Apple iPhone 6

Apple iphone 6 Plus

Canon EF – SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014

Canon EF- SIGMA 150-600mm F5-6.3 DG OS HSM S014

Canon EF- Tokina AT-X 116 PRO DX-II 11-16mm f/2.8

Canon EF- Zeiss Otus 1.4/85 ZE

Fujifilm X- Fujifilm X100T

Fujifilm X- HandeVision IBELUX 40mm F0.85

GoPro Hero4 Black Edition

GoPro Hero4 Silver Edition

Leica M- Leica SUMMARIT-M 35 mm f/2.4 ASPH

Leica M- Leica SUMMARIT-M 50 mm f/2.4

Leica M- Leica SUMMARIT-M 75 mm f/2.4

Leica M- Leica SUMMARIT-M 90 mm f/2.4

Leica M- SLR Magic 50mm T0.95 Hyperprime Cine Lens

Leica M- Voigtlander VM 12mm F5.6 Ultra Wide Heliar ASPH.

Leica M- Voigtlander VM 15mm F4.5 Super Wide Heliar II ASPH.

Leica M- Voigtlander VM 21mm F1.8 Ultron ASPH.

Leica M- Voigtlander VM 21mm F4 Color Skopar

Leica M- Voigtlander VM 25mm F4 Color Skopar

Leica M- Voigtlander VM 28mm F2 Ultron

Leica M- Voigtlander VM 35mm F1.2 Nokton II ASPH.

Leica M- Voigtlander VM 35mm F1.4 Nokton Classic

Leica M- Voigtlander VM 35mm F2.5 Color Skopar

Leica M- Voigtlander VM 40mm F1.4 Nokton Classic

Leica M- Voigtlander VM 50mm F1.1 Nokton

Leica M- Voigtlander VM 50mm F1.5 Nokton

Leica M- Voigtlander VM 75mm F1.8 Heliar

Leica S – Leica SUMMICRON-S 100 mm f/2 ASPH.

Nikon F – Nikon AF-S NIKKOR 20mm f/1.8G ED

Nikon F – Nikon AF-S NIKKOR 400mm f2.8E FL ED VR

Nikon F- SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014

Nikon F- SIGMA 150-600mm F5-6.3 DG OS HSM S014

Nikon F- Tokina AT-X 116 PRO DX-II 11-16mm f/2.8

Nikon F- Voigtlander SL 40mm F2 Ultron ASPHERICAL

Nikon F – Voigtlander SL 40mm F2 Ultron ASPHERICAL Close-up

Nikon F-  Zeiss Otus 1.4/85 ZF.2

Pentax HD – PENTAX-DA 645 28-45mm F4.5 ED AW SR

Pentax HD – PENTAX-DA 16-85mm F3.5-5.6 ED DC WR

Pentax HD- PENTAX-DA 20-40mm F2.8-4 Limited

Sigma- SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014

Sigma- SIGMA 150-600mm F5-6.3 DG OS HSM S014

Sony Alpha- SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM C014

Sony Alpha- SIGMA 24-105mm F4 DG OS HSM A013

Sony Alpha- Sony DT 18-55mm F3.5-5.6 SAM

Sony Alpha- Sony DT 18-70mm F3.5-5.6

Sony Alpha- Sony DT 55-200mm F4-5.6

Sony Alpha- Sony 75-300mm F4.5-5.6

Sony Alpha- Sony 300mm F2.8 G SSM

Sony Alpha- Sony 500mm F4 G SSM

Sony E- HandeVision IBELUX 40mm F0.85

Sony E- SLR Magic 50mm F0.95 Hyperprime Lens

Sony E- Sony FE 16-35mm F4 ZA OSS

Sony E- Sony FE PZ 28-135mm F4 G OSS

Sony E- Zeiss Loxia Biogon T* 2/35

Sony E- Zeiss Loxia Planar T* 2/50

Release Notes

ACR 8.7 now supports HiDPI displays on Windows. Please use the following steps to enabled HiDPI on Windows:

Go to Photoshop -> Preferences -> Experimental Features

Click on “Scaled UI 200% for high-density displays”

Bug Fixes:

Fixed crash when rapidly adding corrections with the Spot Removal tool.

Fixed bug that prevented the Filter Brush cursor from displaying while changing brush size

when the Graduated and Radial Filter overlay is turned off.

Improved quality of Camera Matching color profiles for the Nikon D810. Fixes visible banding issues with the Camera Standard, Camera Vivid, Camera Landscape, and Camera

Monochrome profiles.

Please note – If you have trouble updating to the latest ACR update via the Creative Cloud application,

please refer to the following plugin installation:

http://helpx.adobe.com/x-productkb/multi/camera-raw-plug-in-installer.html

Download Links

DNG Converter 8.7

Mac  

Win 

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#CreativeFriday – Creating 3D Extrusions from Paths

This post starts off from last weeks post, where the birdhouse has been created using a circle and a polygon. Now to create the roof. A new path will be created using the pen tool. A simple path which follows the natural lines of the top of the current structure. When creating a new path, you should make sure that the path is created on a new empty layer, (shown in in red). Once the path has been made and closed, then a right click will bring up the context menu and ‘Convert Path to Extrusion’ should be available.

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Once the 3D extrusion has been made it will be shown on a 3D canvas. Note, that there are now two 3D canvases and they are not interacting with each other yet. The 3D object can be moved about by clicking it once or until the move/navigator widget is displayed (as shown below).

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To put the roof into the same 3D canvas as the bird house, select the bird house first (as we want to use the lights and ground plane configuration for the whole scene, and selecting it first will give it priority of the merge), then select the new 3D layer. From the menu item 3D, select Merge 3D Layers.

3

Once the objects have been merged, the objects will interact with each other, and can be moved into position by using the move / navigator tool widget.

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If the shape that has been made needs adjusting, then Photoshop stores the original shape along with the 3D object. This source shape can be changed at any time by selecting the 3D object, or by selecting the object in the 3D menu (not the material). The properties panel for the 3D object will be show, and the ‘Edit Source’ button should be available (see below).

Screen Shot 2014-10-31 at 02.54.07

Clicking the Edit Source will open up the original path for editing. The direct selection tool (black arrow) can be used, as well as the other path modifier tools (ALT and CMD(MAC)/CTRL(PC)). If the shape is changed, the 3D object will reflect the change as soon as the source is changed (it can also stay open while it is refined. Also, moving back to the 3D object panel will cause the original shape to save and the update should be seen automatically).

Screen Shot 2014-10-31 at 02.54.14

To get the roof into the correct position, the camera may need to be moved around, this can be done by using the three icons down the left hand side (just above the coloured navigation axis). Whilst the move widget is in position, pressing the V key once will take the tool into the modified mode (twice into inflation mode). The middle section will extend/reduce the current extrusion, in this case it might need to be extended, depending on the size of the bird house below it (there are other options to play with outside of the extrusion (extrusion is shown below).

4.5

The camera can be moved around to make sure the roof fits nice and snug.

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Texturing the surface is quite easy, in the 3D menu the Front inflation of the object can be selected (applies to all Photoshop created objects). The objects surface can be selected directly as well. The same as last week, choose the material(red and yellow) or make a new texture.

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The extrusion (pink) can be selected as well and a new texture (red) applied or a new texture created (blue). In this example the texture actions will be used to create an asphalt type surface.

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The asphalt is available under the textures actions (see last weeks post).

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If a new Bump is required to give the surface a real world quality, then select a new bump mat (green) for the extrusion material for the surface (yellow). A dialog will appear (red) and notice, it’s the same size as the diffuse material.

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If the same texture is to be used for the bump map than the diffuse texture, then as a quick solution. I tend to keep the diffuse window open and drag it to the side, and have the bump map canvas behind it, then select the diffuse layer and drag the layers into the bump canvas.

Then the bump can be  increased by moving the slider to increase the amount of bump texture.14

If the lights need to move to show the house in it’s best light. Click on the light in the 3D panel (yellow), then look at it’s properties. The light intensity can be increased or reduced using the slider in the green box (also the colour of the light). The light position can be moved by dragging it with the red handle. The shadow can be turned off as well by un checking the check box for shadow (sometimes a shadow isn’t required)

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You may have noticed that the floor is shiny and has a wonderful reflection on it. This is configured in the environment properties (yellow). The Ground plane shadow is set to 60%, the reflections opacity is set to 67% and the roughness is set to 60%. These figues may not work for you, but experiment with them and see which effect you like. The reason that the shadow has been removed from the light, is that it doesn’t like quite right with the reflections, but you may like it, so by all means turn it on.

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The last step is to render the scene, by clicking the render button (they are everywhere, but in the example above, it’s next to the delete icon on the properties panel and in the middle of the bottom of the 3D panel.

birdhouse v2.5

Here is the PSD file if you wanted to start with the finished item.

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#CreativeFriday – 3D Shapes and Bump Maps in Photoshop CC

This post is all about how to create a 3D object from shapes inside PhotoshopCC. Then look at texturing the object and creating some bump maps to give it a realistic effect.

First thing to do is create a new canvas and place a shape on it. Below a polygon has been used and will be used for a simple bird house for a bird table (the polygon tool is available under the shapes tool bar (marked in red)).

 

Before the Polygon is drawn a black fill and a white stroke (3pt) (marked yellow above), have been chosen. Also, the new layer (marked in purple) has been selected. A straight forward Polygon is created by holding down the SHIFT key (this will keep the format of the shape and not distort the vertical or horizontal).

 

The shape will grow in size fairly quickly so you may need to re-size it using the free transform tool ((CMD+T(Mac) or CTRL+T(PC) can be used once it’s committed), or to just move it, select the Path Selection tool (using the keyboard shortcut A), or by selecting the black arrow (marked in red).  The Path selection tool (Black arrow), can be used to move the shape around the canvas (but it won’t change the size, only the position). The direct selection tool is used by clicking on the edge of the shape that is required (they may be more than one), the black dots (marked in green) should be then displayed. With the ‘New Layer’ option turned on (marked in purple above), a new empty layer is created and the shape is placed on this by default (marked blue below). Once this has happened, the combine shapes option (marked in yellow) will be chosen automatically (it can be changed to another if required). The shape can now be moved around the canvas, and also have it’s size and format changed by pressing the free transform tool.

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The bird house will have a door way. This will be a circular hole punched through it. The shape tool or any other tool may be selected and the same layer where the polygon is should be selected in the layer panel.

This time an ellipse tool will be used in this example (marked yellow) to create a cutaway part to the existing shape (marked in green below). This can be done by holding the ALT key down (this will move the shape options into subtract front shape mode), as well as holding the SHIFT key down (to keep the original shape format), whist dragging a new circle on the canvas. A subtraction shape is made, which will be used as to cut a doorway.

Notice that a new layer has not been created, this is because the path tool was in the subtract front shape mode and not new layer mode.

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The shape can be moved freely by selecting the black arrow (Path selection tool) (shortcut key A), or by changing the shape using CTRL+T. Other shapes can be created, moved and changed as well, by just using the black arrow (Path selection tool), then selecting them directly. The white arrow (direct selection tool) is used to change the shape of the shape by exposing the handles of the bezier curves.

 

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Once the shape has been moved into position, it can be extruded into a 3D object. To extrude the shape make sure the black or white arrows are enabled and the shape is selected. Then right click anywhere on the shape, to show the context menu. At the bottom of the list, Extrude path to Extrusion should be available.

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Selecting this option should convert the object to 3D.

Screen Shot 2014-10-29 at 23.53.35

Now it can be positioned in to the correct place and textured.

Don’t forget that by clicking on the object once will show the move widget, where the model can be moved left, right, up, down and rotated, as well as change the size of the model uniformly.

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The camera can be moved into different positions by using the three tools marked in red.

To apply a texture to the front of the bird house, click on the front face twice (marked in pink), or navigate to the 3D menu and choose inflation material of the shape (marked in red). This will show all of the properties of the material (marked yellow).

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Inside the materials list there are lots of built in ones (selecting the drop down arrow on the materials box will show what’s available. In the example below, a large list is shown, as this shows the names and the effect). There are materials like leather, glass, plastic etc and these make a great start. If they contain a colour then the colour will be loaded automatically into the diffuse property. In the example below, brown leather is chosen and applied to the front face.

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To add something more interesting, the diffuse folder can be opened and the texture opened for editing (marked in red).

lalal

Once opened the original 2D UV map and texture will be shown. At this point you can apply any texture to this surface. For this example the actions palette has been used (covered last week, in this post) and the action that is needed it run. In this texture action, it will run the texturizer and the parameters in the dialog box are applied.

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This can cover the whole canvas as it will only impact the surface. In the example below, a selection has been to the edge of the shape, the result of the action will fill the selection.

Screen Shot 2014-10-30 at 00.16.53

Keep the texture open for a few moments, and return to the 3D object. This time, head over to the properties panel and click on the folder on the bump map (marked red). A texture might not already exist, if not, then one can be created by using the create a new texture option.

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A dialog will be opened, that will create a canvas the same size at the diffuse texture. When opened the UV overlay should be shown (UV overlay visibility is marked in red). This is showing the unwrapped polygons that make up the surface.

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Open the original diffuse window (that contains the texture map) and select the texture layers that were created earlier. The textures can then be copied to the new Bump texture and will be used to create relief.

Screen Shot 2014-10-30 at 00.34.12

Both Diffuse and the bump should now be similar/same (it’s not imperative that this is the case and could even be a completely different texture to get an unusual effect). Navigating to the 3D panel and selecting the front inflation should access the properties of the material. The bump slider can then be increased and will create relief based upon the texture in the bump map channel (this can be changed at any time, by clicking on the folder and selecting edit texture).

 

To see what the results look like, you can press the Render button (marked yellow above), the render button is available in many places inside Photoshop CC (marked yellow above).

 

 

Rendering

For Photoshop render settings, it will depend on the quality that is needed. I would use a minimum of 4 in Ray Tracer High Quality Threshold in the 3D preferences panel, a value of 5 will extract more information in the ray trace but will take substantially more time. The Photoshop CC Raytracer will create beautiful  high res renderings, photo quality.

 

N.B. For working with models in the Photoshop environment, I tend set my shadow quality to very low, this will increase performance.

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After the initial render.

 

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For the outside, a rusted metal effect which can be found under the texture actions panel is used. For this, the extrusion surface will be used. The same process is applied as before. The extrusion surface is located in the 3D panel and the diffuse on the material is opened and the texture applied. The bump on the same material is opened and the same texture is applied to this as well, and the Bump value increased by using the slider.

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Notice on the example above, the extrusion surface applies to both inside and outside extrusions,  the outer shell has the colour applied to it and the inside is the same texture but no colour. This is because the texture in the bump and diffuse covers both the inflation for the outside and the inside.

The red area is the inside of the hole, the yellow is the outside. Textures and colour information don’ t have to cover the whole mesh, The texture can be transformed using the free transform tool and can cover an areas that you require, or multiple textures can be used. The UV Overlays (marked pink) are shown in black (red) in the example below.

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Removing the overlays is achieved by  turning off the UV on the properties panel.

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Next week will look at finishing off the bird house by adding a roof, but there should be enough for you to play with here until next time.

 

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#CreativeFriday – Texture and Text Effect Actions

I recently found some nice actions tucked away under the actions menu, so wanted to share with you, just in case you haven’t found them.

To access the actions panel (if it is not shown) in your current Photoshop workspace, select from the menu bar Window / Actions. Once the actions panel is open, click the panel fly out menu (marked in red), you will find the textures and other effects located there.  For the examples in this post Textures and Text Effects will be used. To select each one, click on the corresponding name.

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The actions are activated by choosing the one that needs to be applied, then clicking the play icon at the bottom of the panel. The actions will fill the canvas, and may overwrite layers below it. In the following example a clipping layer is used to place the new texture within the letters. Activating the clipping layer is done by holding the ALT key down whilst positioning the cursor between the two layers in the layers panel. An icon will appear (small white box with a black arrow (in Photoshop CC), a mouse click will activate the clipping layer and will immediately transition the layer into the clipping layer and the underlying layer will show through.

 

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Clipping layer applied.

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Example of Cold Lava texture

 

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Example of Rippled Oil texture

 

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The Text Effects Actions (available under the same fly out menu), gives some other interesting effects, as well (all of these effects can be created manually, but these actions will just save a load of time).

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Example of Brushed Metal

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Example of Clear Embossed. The clear embossed may need some additional elements adding to it, in the following example a Colour Overlay of Red has been added  as well as black background.

 

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Example of Die Cut.

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Example of Medium Outline.

 

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There is one other action that is worth exploring further, and is available under the same actions fly out menu. The LAB Black and White Technique is worth playing with.

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The action (as well as some of the previous ones), will stop half way through and ask for manual input. In this case the Hue/Saturation dialog box will be shown. This is a nice sandbox, so feel free to try to different values around the panel.

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Behind the Scenes on Gone Girl

Hollywood blockbuster Gone Girl was edited entirely in Adobe Premiere Pro CC. The workflow used by David Fincher and his post-production team offers insights into the evolution of filmmaking today. Working interactively, with editorial and visual effects tightly linked, the team was able to shape the 6K source footage into a cinematic masterpiece. Hear how they did it.

Watch the behind the scenes interveiew here

LEARN MORE about the Adobe Creative Cloud pro video tools: http://adobe.ly/1Bn4vX3

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Photoshop 2014.2 update – Move tool change workaround.

The Photoshop 2014.2 update, changed the behaviour of the Move tool which may not suit everyone’s workflow. This post documents a workaround that should replicate the previous behaviour of this tool.

Move Tool Change

Holding the CMD (Mac) /CTRL (Pc)  with Move tool selected toggles Auto-Select for objects on the canvas

WORKAROUND

If this change does not suit your workflow, there is a workaround which should support the previous behaviour.

-Uncheck auto-select, don’t hold down CMD to select items In the current layers… just use CMD click to define the’ layers you wish to select.
‘We used to select our layers in the layers panel, and then use the move tool while holding CMD to drag them all at once without needing to actually target the layers with the mouse.’
So in the case above… you CMD select your layers… then DON’T hold CMD to drag them all at once. No arrows required.
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Editing your holiday snaps with Photoshop CC, presented by Gavin Hoey

If you missed the recent webinar “How to edit holiday snaps with Photoshop CC” presented by Gavin Hoey  or would like watch it again, then please find below the on demand – recording.

 

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How to edit your Photos with Lightroom/Photoshop and DataColor

If you missed the recent webinar “How to edit your Photos with Lightroom/Photoshop and DataColor”, co-presented by Richard West of DataColour  or would like watch and listen to it again, then please find below the recording.

 

 

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#CreativeFriday – Creating Duplicate Mirrored 3D Shapes in Photoshop

This is a little trick that i’ve been using recently. The problem that I had was that I needed to create a mirror image of an element on a piece of 3D art work that I am working on. For example take this 2D shape that has been created with the pen tool.

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Then if it’s duplicated, by holding down the ALT key and dragging it into the new position (or by pressing CMD+J(MAC), CTRL+J(PC)), will create the same shape.

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To create a mirrored shape, it needs to be flipped on the vertical. To do this, Photoshop’s free Transform tool can be used, by pressing CMD+T(Mac) / CTRL+T (PC).

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To make the mirror, the width can be changed from 100% to -100%, this will flip the shape.

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Now, how does that help with 3D?

Typically 3D elements in Photoshop CC are created direct from the path / shape. In this case, once the initial shape has been drawn it can be extruded. To do this, Once the layer is selected, menu item 3D  / New 3D Extrusion from Selected Layer can be selected to convert the shape to a 3D shape. Because the layer is transparent, the extrusion will just be for the shape and won’t include the background.

 

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This will create the 3D extrusion. Once 3D extrusions have been created, clicking on them until the move widget appears (once is normally enough), will give access to it’s basic properties, including an option to edit the original source document.

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Once in 3D it’s simple to create a duplicate 3D object, by opening the 3D menu from the Window menu item. Selecting the main object, in this case Layer 1 (Marked in Red), then by right clicking and choosing ‘Duplicate object’. This will create a second 3D object within the same 3D environment.

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When the front face of the new object is selected, the font face inflation will be selected in the 3D menu.

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To get a mirror of the 3D object, it can be rotated by 180 and achieve the same effect, however, the face that will be shown to the camera is the back face.

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So, the thing to do is to flip the source in the same way as the 2D shape in the initial part of this blog

Reverting back to the front inflation view of this object, then selecting it until the move widget is displayed. The basic shape properties along with the ‘Edit Source’, will be shown in the properties panel (Objects will need to be created from Photoshop CC or Illustrator CC for the source to be editable. If Illustrator files are used as a source, then ‘Edit Source’ will open up the 2D Photoshop element, the illustrator file can be accessed by double clicking on the Smart Object Layer , then the original vector can be modified).

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Once this has been chosen, the original shape (as in the first section of this document) should be displayed. Following the same principles, CMD+T(Mac) or CTRL+T (PC) (to enter free transform) can be used.  The original value of the width is 100%, a new value of -100% in the width parameter will mirror the shape.

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This action will flip the shape on the vertical. This change can then be saved and committed to and the document closed. The 3D shape should also be updated and now be an exact mirror image of the original.

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This has been very useful when creating mirrored parts of my personal Photoshop CC 3D model project (Behance – Work in Progress).

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