Transcript:
[MUSIC] [Music] for this panorama project. I’m going to open up some TIFF files that I’ve processed from the Adobe Camera Raw files, so we’ll come up to the file menu and choose open. I’m going to go to the MP 8 DVD and choose from the TIFF folder. We go into the module 3 Are we going to the pano projects there’s? A number of them here got total of 5 so I’ll select them all and then select open. These will open into the Edit space and what we’re going to do then is we’re going to go to the file menu and go down to new and then come across to photomerge panorama with the photo merge dialog. We just need to add open files and we’re going to choose the auto layout, which gets things right most of the time, and then we’ll select OK, depending on the resolution of the files that you’re working with, this may take some time. Photoshop to align all of the component images and then seamlessly blend them together when Photoshop is aligned and blended the images. You might find that you have a near-perfect result in this image. I just need to crop away the transparency that we can see around the edges, so I’ll select the crop tool and then click in the top left hand corner and drag along. I’m going to float the cropping marquee by pressing the spacebar, so I can select more of the left-hand side and the bottom. Now we have a little bit of transparency selected in the top right hand corner, but I don’t want to create a narrower crop, so I’m going to live with this transparency and then replace some of the sky. I’ll hit the return. Enter key to commit that crop now. I’m going to stamp the visible layers into a new layer. I’ll use the keyboard shortcut for this operation on a Mac. That’s command option shift and on a PC. That’s control old shift and then hit the letter E whilst holding down the modifier keys, and this gives me the stamp, visible layer we’re going to create an empty new layer on top of this and then. I’m going to select the stamp tool from the tools panel here, select the clone stamp tool and in the options bar, click sample all layers option. Okay, select a large brush size for this add soft edge and then hold down the alt or option key and then click just below the area of transparency that you can see and then come up to the transparency area and then paint in we’re using a brush at 100% opacity for this job. I’m just going to make one more selection Alt option. Click and then move over and finish that last piece of transparency. There okay, once. I’ve done that I can merge this layer down If I’m happy with the result, so we’ll just come and select. Merge down. That’s command or ctrl e. Okay, now that’s a pretty good job, but what? I’m noticing here is Although the the seams are fairly well concealed, ie. I can’t see where the joins of these images are. I’m noticing that the horizon line is just a little bit crooked. Let’s just zoom in and take a closer look at this. There’s a small undulation in this horizon line and there’s actually a small break in the horizon line just in the center of the image. So what we’re going to do is we’re going to try and repair and patch this area. I’m going to select the marquee tool and in the options bar. I’m going to select a zero feather. I’m going to click just below the horizon line and then drag a long selection just below that horizon line again. I can hold down the command or spacebar to float that selection at any time and then release. Let’s just move. The layer’s panel collapse the layer’s panel out of view, so we can see what we’re doing here, okay, what? I’d like to now do is move that horizon line down onto the top of this selection that we have here so the way. I’m going to do that is I’m going to go to the Select menu and to in verse now we have everything. But this central area selected, remember, we can only edit these selected pixels and so now the pixels above this selection edge are now selected. We’re going to now come up to the filter menu, come down to distort and across to liquify now in the liquify dialog. I’m going to need to zoom in. You’ll see a central red area, which is a frozen area of pixels and what I’m going to do is I’m going to liquefy or distort the pixels down onto this frozen area. Let’s just zoom in to around 50% okay, so we can see the low point on the horizon line here now. I’m selecting the warp tool up here in the top left hand corner of the liquify dialog. And then I’m going to select a large brush size here. I’ve selected a 400 pixel brush and I’m going to select the brush pressure. At around 20% you can use a slightly lower pressure if you want to do this in stages and now. I’m going to click and drag down onto the frozen area of pixels. You might need to click a couple of times as we move that horizon line down now. The area behind the red frozen area will not move and so what we’re doing is we’re creating a straight area of horizon. As I said you might need to come. Across several times in order to push this horizon line down onto this frozen area. Slowly working my way along now. I’m going to use the spacebar to move over to the right-hand side of that horizon and start on this area. Okay, once! I’m happy that the horizon line is straight by panning back across. I’m going to click or select okay, in the liquify dialog and this will process the results into that stamp visible layer that we created and there the horizon line snapping into place. If I want to view the horizon line without the selection edge, just come up to the View menu and just choose selection, the pixels are still selected. They’re just hidden from view or the selection edge is hidden from view. This will help us attain whether the horizon line is straight or not. Let’s just bring back the selection again. View selection. You can still work with the selected pixels, remember? The selected pixels are still outside of this area by using perhaps one of the tools from the tools panel such as smudge, which also allows you to push pixels around. I’m just going to hide the selection. Well, perhaps I should even lose the selection by going to the select deselect option. One of the problems about moving pixels along the frozen edge in liquify is some of the edges become overly sharp in order to counteract this. We can choose the blur tool with a strength of 50% and then increase the size of the brush and then just run along the horizon line a couple of times just to soften up that edge, so it doesn’t look too sharp, okay, especially where we’ve been working with that warp tool along that edge, and that should be fine. Now, let’s just zoom in a couple of times command+ on a Mac or Ctrl + on a PC just to zoom in the horizon. Line is very straight in here, but if you do find that, you have a break in the horizon line, we create a patch again. Select the rectangular marquee tool and this time enter in a feather of around 10 pixels, make a long, narrow selection around a good part of the horizon line, and then we can float that by going Command C or control C on the PC to copy them to the clipboard and then command V or Ctrl V on a PC to paste them onto a new layer, lets. Just go command T on the Mac or Ctrl T to enter the free transform. We can now move these pixels into position as you can see. We have a nice soft edge, so we should be able to disguise them well. We can also come up to the out Alta that handles of the bounding box and rotate if required, we can also use the up and down arrow keys to nudge this new patch into position before committing what we have. If for any reason, we have a color mismatch between the patch and the horizon or water alongside the patch, this can be easily fixed as well. We’ll just create another new layer by clicking on the create. A new layer icon set the mode to color select the brush tool in the tools panel and then sample an area of good color by holding down the alt option key and clicking on an area of the good color, lower the opacity of the brush and then paint in the area to paint with that color into the new or patched area. In this way, we should be able to create a seamless horizon line that is absolutely straight What I’m going to do now is just finish up the image by creating a little bit more mid-tone contrast and then sharpening the image. Let’s just zoom out by going to view and fit on screen, we’re going to stamp the visible elements to a new layer command option shift or ctrl alt shift, and then tap the letter E on the keyboard to stamp the visible layers into a new layer. We’re going to remove the color from this layer command shift. Q or ctrl shift you? In order to remove the color from this layer will then set the blend mode to soft light, which is a contrast blend mode. We’re now going to come up to the filter menu. Come down to other and then choose high-pas’s. Okay, let’s move the high-pass filter out of the way and also the layer’s panel. I’m looking at the mid-tone contrast around the beach here. I’m just going to zoom in Ill. Just do command or control. + A couple of times, so I can see the detail along the beach. I’m going to move the radius slider in the High-pass filter down, you can see less mid-tone contrast and moving it higher. We actually create more depth in around these images, somewhere between 60 and 70 pixels for these 12 megapixel images is about ideal and now. I’ll select okay If the effect is just a little bit too high, we can actually lower the opacity of this layer. I’m happy with this effect, so what I’m going to do now is stamp visible again, command option shift or ctrl alt shift and then II in order to stamp visible once again. I’ll just call this layer my sharpen layer. I will set the blend mode to luminosity to avoid any saturated edges when we’ve sharpened, and then I’m going to come up to the enhance menu, Choose Unsharp mask. And now I’m going to choose around about 150 percent for the amount a one pixel radius and a threshold of three we can zoom in to 50% to get an accurate view of the sharpening for this particular image. I’m happy with this level of sharpening, so I’ll commit that by selecting. Okay, and now we’ll go view and fit on screen you.