" Hi and welcome to another episode of pixel perfect will be -- right. Show right through all kinds of weird tricks. Before we start. If there's who have stopped for a sponsor. Good day dot com where you get 96 dollars and free extras with your domain name from godaddy.com. Each domain includes free hosting with a website though there are free blog complete email and so much more. Plus and the -- pixel five when you check out and save an additional ten dollars off any order of forty dollars -- war. Some restrictions apply -- the details get your piece of the Internet at godaddy.com. At -- 106 dollars to spend forty dollars that's pretty good. It did anything you'd like to see on the show -- should you know media critic revision3.com. You can also talk about stuff we made it to the show where I'll look for more episode ideas by going into the pixel perfect forums that revision3.com. Slash. -- So. Something you cannot since the list I was gonna show actually came out about a week after. The last taping and my new book if you've been waiting for for a long time. I don't particular want to produce a book packet has been five years is they've -- a book but I find out this one up. I'd -- do this stuff to write about it sort of radius of your book which has a cool little folder. So you can see that whole piece of one. This piece here and you've got a really nice -- so it's not gonna crack it people come up and so on and so forth. And it doesn't covers a lot of stuff it's published by new writers it beat it and you can get a direct link to the book at peach pit from my site -- dot com. So it covers a pretty much. A lot of the things that I do here but basically it's concentrating on my major paintings and exactly how -- do you took a little pieces from retaining. And goes step by step on how I created the stuff. So there's a new book. So now. This episode we're gonna talk about color right. I've done an episode on a polarizing before but people want to see more that they want to see how do you go in here and -- stuff -- show you a few different ways today. Now what I really want to do is open --"

" Eyes all the possibilities. Of how you can go in there and color -- there are many. And in some cases one where expended another depending on a particular piece. Now what an episode that talked about polarizing black and whites than I do that again but I am gonna -- image changed the color of accidents and things at a certain tools and and Photoshop that is specifically for that purpose going in -- and polarizing thing. One on those who right now is the color match function on screen we have this grow what is blue top. Now the top is greater looks fine -- winners were alive except. It shouldn't be that -- supposed to be this red over here. But be sure it wasn't available whatever whatever to cases so right. So we need to do is to change the this blue top it is red top but the thing is is all these next home's going I'm -- these highlights that we see -- long hair or these shadows in the polls and so want. So we need to change the color with out changing all of -- so out nuances and tone there. So. Look how much does is allows them to do exactly that. And I'm gonna go and and I had to select this and see that I have a little path here that surrounds the shirt right saga go in there and make them -- election. -- Bettering and so on and it's selected to actually get to the one that's got the red. And -- my lasso here unless it's around areas both similar values references polite tones and here and the dark tones are really bright ones and here in the tones. Unless around bulldozers and have to be very precise as long as I encompass. A little bit of every wanted to -- those tones and there. If I'm persona kind of pick away from this little things too close to the one today you can see you have all the values -- at the lights in here and I got all the dark tones and the mid tones that we see right in these areas here. And now. I go back to my. I have both selections in both files and I come over here to image adjustments. And go down here to match color. There it is. I bring that up and there's a lot of controls and here. Play around with those to see how they all work out and -- the luminous color intensity of tape alone you don't do is change the -- down here. Source right now is none I would set it to correct red which is the name of that file there are going here and -- correct -- Okay it's showing me that correct -- and noticed right back here to schematic click OK it's done. You noticed that all the nice little towns in there that Steve select this all the highlights all the shadows holding foals are. Still there but they're now the red on the right -- Okay. Let's go in here and let's do another kind of color -- now sometimes you need to go there and color write something that's. Going to. Let's. Get this little guy here -- great car. Has that been no values and that this is a great carbon want to make me be red or blue green whatever all right so now. Remember that using the paintbrush. Necessary that we pick a nice bright red here it's gonna get this red. And advice campaigning its just gonna right now it's filling more -- there and it's undo that it's gonna brush and say we don't want -- damage we don't want of the -- don't want any of these things. All right so. What happens is its us fills everything with red. It's -- that if I set the mode to color and I start to paint did you see that it's changing the color. And again leaving all of that lights and darts end in no way they should be. Now. Keeping that nice and tight that's a little tough to keep inside the lines so there's a case where selecting that Gray's group difficult because the fact that everything in his. Entire photograph is kind of monochromatic those kind of hard to go in there and separate this car so -- my pen tool I would go in there and start to surround the car. I -- the pen tool and I start to selected and I go in here and get an -- selection around air and come around and go down here and so on and so forth and just do the selection right felt. I have already -- paths that up. Not to notice -- the have the paths going all around the outside of the car and I also have paths put inside area. I -- this flight here in color eyes that this that'll grill there this part here red lights it's pretty and so on. And that window right there. Those certain selected separately as separate paths that way am I gonna have any. Area that I don't want to have caller rise. To be effective for now that I have all these different -- going on here I have all these stones I take the car. And I'm making the selection I keep in mind that since some paths -- inside the other happened and become compound paths that will be holes in the overall selection. So I go ahead and say make that a selection we see that that window is he selected. The light and grills are these select. Right so now when I'm gonna do here to make it rather than simply going to Phillip that come over here and state bill. And just like with the brush I'll do is offset the -- to color. That the color in control of Pasadena and so on and -- say use the foreground color. And I click okay and there we see that the car is now red car. Can't. At that point -- could also go into something like hue saturation. It's going to use saturation and as to say we want to say eight color eyes and its punch up the saturation and maybe make it a green car of new car. Purple car whatever. The thing is that we've selected the car to make a separate from the rest of the scene and then polarized. Our case and now."

" So many ways of going in there and color rising things that's look at this. -- there's a yellow cab right one big yellow car. We want to go in there and affecting you know but this is kind of complicated is all these little check the boards is the word. Selecting that is going to be a little tough it's just too many things to select all right so that's another adjustment appear. Which we have courts elective called selective -- this allows me to go in there and get a specific color that I want to change and change it. Which in this case when affecting yellows I want affect all the -- So and I have all these bars here for -- magenta yellow and black. At the start playing around with and as I start moving he -- you see that the car's going to start changing CFM punching up the magenta a bit bring the -- down maybe. Bring down the yellow sisters to get a little pink this is relative wrote the right now is doing little calculation. The figure out a percentage of the car and its of the color that's going to be incorporated. I prefer absolute and absolutely as you can see just replaces the color and it just goes in there and -- the percentage of the colors and I'm choosing Angolan there and have a little site and to a maybe and we got us with the orange car. And so on his back to the yellow let's go into these greens here. So I'm playing I would these sliders to totally change the existing -- all of the yellows in this image. So it's affecting all goes it also affected some of these signs back here."

" But later on what you could do that let me just give -- those suggestion here which you might want to do is to take. This car. Put it into a separate file a separate later. And -- polarization two bit and then give it a layer mask. And cover up the other areas where the colors -- effective. You want to make -- that we can concentrate on this without having get into the really intricate part of selecting or that there's been tons that are in there. So. That's a good one more does is a little strange. But would get this red bike here. And I want to change its colors -- to say I want to be agreed on maybe yellow something like this we want a quick change on it. There's mode here which we haven't discussed in the show for a long time and and that is the -- coal. Lab. LAB. And LAB -- now changed. Doesn't look like editing change that if you look up here you know is that -- now only be if we look at the channels for it. Hezbollah the channels we see that now the channels instead of being RGB and now lightness a and -- Likenesses -- all the lights and dogs and -- may -- are your color channels. So I can go in there and let's just say let's let's look at this this does sound as the eight channel. Here's the B channel there's a lightness count the lightness channel has all the details. But it right going to say to -- channel and I invert that. It's going there and in and convert that load. Right there. And we go look at the right now PC by turn purple. That's undo that. That's going to be beat and invert that. That's go and then invert."

" And there's probably did that program and we are right let's go -- the day. This time of duty day and invert that. -- I universe that's affecting all the -- particular value since I -- them and again and now we have something that we could start isn't it. We color rises so and so but why did that to the actual color values and -- them. Changing to the opposite color on on this and -- So that way I'm getting a complete change or those -- values all the red values became mean values it's gonna affect any reflections that we see in the glass appear. -- the fact that it goes and looks at all -- and values of green that might appear anywhere even in reflections. And -- That is so many different ways of going in there and color rising. This question of experiment. Going in there and playing with different tools see what it is that they do. -- remember that's the way to learn musical and and play with this stuff. Think of it is working its plane sitting there it's kind of the video game except it's totally interactive and who are deciding what things are going to happen. So polarizing as does the whole way of going in there and and changing colors -- so many different ways depending on a different job. Some jobs is different and other black and white the color is another thing and so and so forth. In most cases this question of selecting the element that's going to be color eyes separating it from everything else and then colonizing it out of you want to do usually don't that's way to do it is just plain simple human saturation. And eliminate an adjustment -- That way -- not affecting the overall images and adjustment layer which can easily be changed at any -- if you don't like that color he can quickly change it or take away you just been completely. Popular or something from all that stuff there's a lot there sit there and play best way to learn."

" So how I hope to see you next week and next to recover a bunch of other stuff so. --"

" Hi and welcome to another episode of pixel perfect will be -- right. Show right through all kinds of weird tricks. Before we start. If there's who have stopped for a sponsor. Good day dot com where you get 96 dollars and free extras with your domain name from godaddy.com. Each domain includes free hosting with a website though there are free blog complete email and so much more. Plus and the -- pixel five when you check out and save an additional ten dollars off any order of forty dollars -- war. Some restrictions apply -- the details get your piece of the Internet at godaddy.com. At -- 106 dollars to spend forty dollars that's pretty good. It did anything you'd like to see on the show -- should you know media critic revision3.com. You can also talk about stuff we made it to the show where I'll look for more episode ideas by going into the pixel perfect forums that revision3.com. Slash. -- So. Something you cannot since the list I was gonna show actually came out about a week after. The last taping and my new book if you've been waiting for for a long time. I don't particular want to produce a book packet has been five years is they've -- a book but I find out this one up. I'd -- do this stuff to write about it sort of radius of your book which has a cool little folder. So you can see that whole piece of one. This piece here and you've got a really nice -- so it's not gonna crack it people come up and so on and so forth. And it doesn't covers a lot of stuff it's published by new writers it beat it and you can get a direct link to the book at peach pit from my site -- dot com. So it covers a pretty much. A lot of the things that I do here but basically it's concentrating on my major paintings and exactly how -- do you took a little pieces from retaining. And goes step by step on how I created the stuff. So there's a new book. So now. This episode we're gonna talk about color right. I've done an episode on a polarizing before but people want to see more that they want to see how do you go in here and -- stuff -- show you a few different ways today. Now what I really want to do is open --"

" Eyes all the possibilities. Of how you can go in there and color -- there are many. And in some cases one where expended another depending on a particular piece. Now what an episode that talked about polarizing black and whites than I do that again but I am gonna -- image changed the color of accidents and things at a certain tools and and Photoshop that is specifically for that purpose going in -- and polarizing thing. One on those who right now is the color match function on screen we have this grow what is blue top. Now the top is greater looks fine -- winners were alive except. It shouldn't be that -- supposed to be this red over here. But be sure it wasn't available whatever whatever to cases so right. So we need to do is to change the this blue top it is red top but the thing is is all these next home's going I'm -- these highlights that we see -- long hair or these shadows in the polls and so want. So we need to change the color with out changing all of -- so out nuances and tone there. So. Look how much does is allows them to do exactly that. And I'm gonna go and and I had to select this and see that I have a little path here that surrounds the shirt right saga go in there and make them -- election. -- Bettering and so on and it's selected to actually get to the one that's got the red. And -- my lasso here unless it's around areas both similar values references polite tones and here and the dark tones are really bright ones and here in the tones. Unless around bulldozers and have to be very precise as long as I encompass. A little bit of every wanted to -- those tones and there. If I'm persona kind of pick away from this little things too close to the one today you can see you have all the values -- at the lights in here and I got all the dark tones and the mid tones that we see right in these areas here. And now. I go back to my. I have both selections in both files and I come over here to image adjustments. And go down here to match color. There it is. I bring that up and there's a lot of controls and here. Play around with those to see how they all work out and -- the luminous color intensity of tape alone you don't do is change the -- down here. Source right now is none I would set it to correct red which is the name of that file there are going here and -- correct -- Okay it's showing me that correct -- and noticed right back here to schematic click OK it's done. You noticed that all the nice little towns in there that Steve select this all the highlights all the shadows holding foals are. Still there but they're now the red on the right -- Okay. Let's go in here and let's do another kind of color -- now sometimes you need to go there and color write something that's. Going to. Let's. Get this little guy here -- great car. Has that been no values and that this is a great carbon want to make me be red or blue green whatever all right so now. Remember that using the paintbrush. Necessary that we pick a nice bright red here it's gonna get this red. And advice campaigning its just gonna right now it's filling more -- there and it's undo that it's gonna brush and say we don't want -- damage we don't want of the -- don't want any of these things. All right so. What happens is its us fills everything with red. It's -- that if I set the mode to color and I start to paint did you see that it's changing the color. And again leaving all of that lights and darts end in no way they should be. Now. Keeping that nice and tight that's a little tough to keep inside the lines so there's a case where selecting that Gray's group difficult because the fact that everything in his. Entire photograph is kind of monochromatic those kind of hard to go in there and separate this car so -- my pen tool I would go in there and start to surround the car. I -- the pen tool and I start to selected and I go in here and get an -- selection around air and come around and go down here and so on and so forth and just do the selection right felt. I have already -- paths that up. Not to notice -- the have the paths going all around the outside of the car and I also have paths put inside area. I -- this flight here in color eyes that this that'll grill there this part here red lights it's pretty and so on. And that window right there. Those certain selected separately as separate paths that way am I gonna have any. Area that I don't want to have caller rise. To be effective for now that I have all these different -- going on here I have all these stones I take the car. And I'm making the selection I keep in mind that since some paths -- inside the other happened and become compound paths that will be holes in the overall selection. So I go ahead and say make that a selection we see that that window is he selected. The light and grills are these select. Right so now when I'm gonna do here to make it rather than simply going to Phillip that come over here and state bill. And just like with the brush I'll do is offset the -- to color. That the color in control of Pasadena and so on and -- say use the foreground color. And I click okay and there we see that the car is now red car. Can't. At that point -- could also go into something like hue saturation. It's going to use saturation and as to say we want to say eight color eyes and its punch up the saturation and maybe make it a green car of new car. Purple car whatever. The thing is that we've selected the car to make a separate from the rest of the scene and then polarized. Our case and now."

" So many ways of going in there and color rising things that's look at this. -- there's a yellow cab right one big yellow car. We want to go in there and affecting you know but this is kind of complicated is all these little check the boards is the word. Selecting that is going to be a little tough it's just too many things to select all right so that's another adjustment appear. Which we have courts elective called selective -- this allows me to go in there and get a specific color that I want to change and change it. Which in this case when affecting yellows I want affect all the -- So and I have all these bars here for -- magenta yellow and black. At the start playing around with and as I start moving he -- you see that the car's going to start changing CFM punching up the magenta a bit bring the -- down maybe. Bring down the yellow sisters to get a little pink this is relative wrote the right now is doing little calculation. The figure out a percentage of the car and its of the color that's going to be incorporated. I prefer absolute and absolutely as you can see just replaces the color and it just goes in there and -- the percentage of the colors and I'm choosing Angolan there and have a little site and to a maybe and we got us with the orange car. And so on his back to the yellow let's go into these greens here. So I'm playing I would these sliders to totally change the existing -- all of the yellows in this image. So it's affecting all goes it also affected some of these signs back here."

" But later on what you could do that let me just give -- those suggestion here which you might want to do is to take. This car. Put it into a separate file a separate later. And -- polarization two bit and then give it a layer mask. And cover up the other areas where the colors -- effective. You want to make -- that we can concentrate on this without having get into the really intricate part of selecting or that there's been tons that are in there. So. That's a good one more does is a little strange. But would get this red bike here. And I want to change its colors -- to say I want to be agreed on maybe yellow something like this we want a quick change on it. There's mode here which we haven't discussed in the show for a long time and and that is the -- coal. Lab. LAB. And LAB -- now changed. Doesn't look like editing change that if you look up here you know is that -- now only be if we look at the channels for it. Hezbollah the channels we see that now the channels instead of being RGB and now lightness a and -- Likenesses -- all the lights and dogs and -- may -- are your color channels. So I can go in there and let's just say let's let's look at this this does sound as the eight channel. Here's the B channel there's a lightness count the lightness channel has all the details. But it right going to say to -- channel and I invert that. It's going there and in and convert that load. Right there. And we go look at the right now PC by turn purple. That's undo that. That's going to be beat and invert that. That's go and then invert."

" And there's probably did that program and we are right let's go -- the day. This time of duty day and invert that. -- I universe that's affecting all the -- particular value since I -- them and again and now we have something that we could start isn't it. We color rises so and so but why did that to the actual color values and -- them. Changing to the opposite color on on this and -- So that way I'm getting a complete change or those -- values all the red values became mean values it's gonna affect any reflections that we see in the glass appear. -- the fact that it goes and looks at all -- and values of green that might appear anywhere even in reflections. And -- That is so many different ways of going in there and color rising. This question of experiment. Going in there and playing with different tools see what it is that they do. -- remember that's the way to learn musical and and play with this stuff. Think of it is working its plane sitting there it's kind of the video game except it's totally interactive and who are deciding what things are going to happen. So polarizing as does the whole way of going in there and and changing colors -- so many different ways depending on a different job. Some jobs is different and other black and white the color is another thing and so and so forth. In most cases this question of selecting the element that's going to be color eyes separating it from everything else and then colonizing it out of you want to do usually don't that's way to do it is just plain simple human saturation. And eliminate an adjustment -- That way -- not affecting the overall images and adjustment layer which can easily be changed at any -- if you don't like that color he can quickly change it or take away you just been completely. Popular or something from all that stuff there's a lot there sit there and play best way to learn."

" So how I hope to see you next week and next to recover a bunch of other stuff so. --"