" War. This episode of pixel perfect is brought to you by Netflix and godaddy.com. Hello and welcome to pixel perfect would be -- honoring the show where I assure you all kind of stuff. First I want to thank Jeremiah knows that his background -- this pissing me. I'm cool -- today on today show. I'm gonna answer a question now a lot of people have been coming up with in fact even Patrick Norton -- organ and a hallway of these -- One of those about HD are thought that each DR. So of them have the master of its DR here on the show to talk about what it's all about the show you how to use it but don't we start. Let's thank our sponsors first. Netflix. Would Netflix you can read over 90000. Titles yet 90000. Including lots of Blu-ray titles with free shipping both ways to your home. They now have a -- forty shipping centers almost all deliveries happening just one business day. The Netflix plans start from four dollars and 99 cents as a new member you can get a no risk two week free trial membership check it out at www. Netflix dot com forward slash pixel perfect and remember. He data type that they'll WWW. And use this code. Also I want to thank godaddy.com. If you want to make an impact online godaddy.com. Has what you need. Dot com names -- lower -- dollar 99 plus -- world class hosting fast and easy website builders and much much more. So now. You -- not talking about it's DR. So what is six yards high dynamic range what does that mean well. My friend Ben just came -- this great little TV that explains the whole thing it's from extreme it's called. Then will more high dynamic range if you are mastery why he's master he's the man in his boot thing got to pick up. And to tell you about this stuff that's what the Ben Ben -- will mark. They had it again aren't there how the government to -- Itself what is all this stuff what is -- what's it about --"

" Here allows you to you. I capture scene you captured Fulbright and strange of that scene -- more like what your eyes -- them whereas -- music camera you have a much limited. Range of brightness levels you can capture -- you can either capture the highlights -- shadows or something in between but if you were shooting mid day where the sun is out is really bright one here in another area that's really shady. It's difficult to capture the full range but with HD are we take multiple shots and we can combine them together into one has that Fulbright answering. Cancer at about one shot with a web multiples I think that's right yeah so terminal -- here's an HER shot for instance. In in this case if you look up these windows you'll notice that you can see the you can still see that -- tell it's him and that that so this is more likely you're I would see if you're viewing the scene my. But did you take your camera you try to capture that what happens is you end up choosing between capturing what's outside those windows. Don't give a much more limited range of your camera can capture. It midday shooting is difficult because you why Breton a strange here we can capture of the highlights but we have nothing inside the car. Or we capture the shadows get into the floor or in the car but by the time we do the windows or to blown out solid one and have. And then we could take something in between to try to get a compromise my would you call -- a compromise not on anything yeah. -- nothing but if we take all three of those shots if the darkest -- the key there is you take the dark shot and you want to make sure that there is no blown out -- Nothing in there are solid -- in on many cameras you consider to be noticeably keys. Where if I bright -- emissions of turning solid white and -- blinking on your little screen itself I have that thing turned on on my dark shot what I want is no blink is at all meaning nothing solid one. In the only thing I care about this shot. Is the brightest part of the color button is long as I have. They aren't starting from that I'm going to end up going brighter and then shooting another shot even brighter. Most of the time for me I due to stops difference in exposure. Between -- but if you want the absolute highest quality you do one stop difference. In that but. I'm pretty lazy to write about a tech -- is their Q one thing. It's obvious but you do haven't also have a track process every shot is identical. Ideally yes -- you get good at this you can set up your camera to automatically take these multiple shots of him in -- oftentimes only the working -- upon. War in some cases even handle. Okay but you have to only progressed and don't start with right I would say that. These problems about. It for shot it take you want good highly -- you don't care about the rest of the image. The second shot you take is just gonna be to stop brighter than -- and then. Sometimes you're gonna need to take the third shot for shot or even effects shot. And that would be you want to keep going and tell the darkest shadows what I would call well lit. It looks like you shine a flashlight in there that kind of thing I -- in the shadows aren't all that right they don't look wildly. Then here's my third shot in I wouldn't quite call that well lit I should really go one step brighter. But in this case they didn't and we'll be fine but not all that means is that a lot of detail and that's for sure but for what one. Even further than this even -- it really nice the gas and so anyway take these three photographs and then here in bridge you gonna select them. And then we're gonna squished in together by going -- to the tools menu in bridge using Photoshop. There's a choice called virtue HD on them. In then this is gonna chug for one. Because what it's doing what we're waiting is this taking these three files it's putting them into the layers how to separate layers. And that's gonna be something special to squish them all together into a single layer. So you don't end up with three -- even though you're gonna end -- three in the layers how to begin with you can -- one. But it's gonna be odd because. This is also designed for people that do 3-D can do video. In those people have a different purpose than photographers and people just want an end image. What they end up wanting is they want an image where things are brighter than -- out the windows and things are darker than black in the floorboards. Because then let's say uses and 3-D scene when you shine a light source into the car will suddenly should -- CD -- in the area that used to be black right back I think. So the key here is this preview you should ignore. I'm because. This is just a preview for three people in four. People that do video. That's all you're doing here is that make sure that this. Little menu in the upper right is set to 32 bit and then click okay. Now quick question is is handling it like photo merge so if there's a -- Eskew and the thing will line them up yes and that's how can get away with shooting on a mono pod -- sometimes hand held -- because if there's a slight difference in position it will use the same alignment that you're counting in photo merge. -- you want try to -- America. Now one thing that's really bad and HQ art is any kind of movement in the scene. If there's a person walking across here -- something like trees floppy in the breeze and stuff. Then these images don't line up perfectly and you're gonna get some aren't acting right in this case I have some --"

" It's hard to see but it's in the lower left corner -- along here there was some sort of material. In here that Saddam. Ended up. Having some movement -- Intuit is gonna -- on edge and that's something I can usually -- section -- at some kind of damage in the car anyway so good. So anyway this the -- for video and three people moved in now what we want to end up doing is something known as tone mapping. Tom mapping is taking this image which has a tremendous brightness range in squishy it into a normal. Range. And there -- a few different choices of how to do that if you want to do where it's built into Photoshop on need to do is come over here to the image menu choose mode. -- switch to either eight or sixteen. Now if you're not another eight or sixteen bit if you're really don't know then you're usually historically and it will be here really know what this means and -- your personal preference. Other -- that just because that's what most people. On better not to -- and you. Now it here this gives us some choices of how to squish that really wide registry to nor normal file. It appeared at the top we have four choices and how to do it. The first one is called exposure and gamma in here you have an exposure slaughter -- brighten up the image. By -- how hard -- you build a scene in detail in those dark years of the car and none else gamma. Which can brighten up to -- shadows forming. But this doesn't give -- much control and I can also it's extremely sensitive if I move that exposure slider just a little bit the entire image can become solid. And but if we switch over here we also have something like highlight compression which does everything forests but -- certainly like the results. -- some images can look great but on the excellence not quite. We also up equalize his surround sound too bad that's picking going to take a look at that. So we are satisfied with that we just click okay and we be done. Now if you want the most control what's built into Photoshop then what you want to do this just local adaptation. Now here it looks like just two sliders but actually it's a lot more if you click on this some more right here. You get occur then now this is really for people don't know how to use curves and I'm not gonna have time here to you. You know demonstrate their -- But if you happen -- don't occur due Kurtz you can police then I'm gonna show you alternative and a moment and I find it's much better than all these this is tilted. And I'm coming here and make many modifications here in and of tweaking this image and make it look a lot better. I and I can click on OK and boot but I'm gonna cancel. Because I find Photoshop is great combined together the images it's great king alignment right it's great for prepping the file. But if you really want control and you want to be able to get an interest in looking image planet using a plugin. Okay this plug in is called automatics. In photo -- would give you much more control then what Photoshop does. So I use Photoshop to merge the images but then he is a plug -- you can purchase it's usually 69 dollars. In installing Photoshop. There's one of odd thing though and that is. Before going in -- photo Macs I choose step backwards from the edit menus is okay. Because what happens this Photoshop does some odd thing with this preview. If you compare this preview -- you what you saw in the previous dialogue box where it was just merging together before right click okay it looks a little bit different. And if you -- step backward. It should look Hussein that just thanks a necessary change okay now what's gonna automatics. -- formats if you much more control. It here first off near the top -- some numbers that controls how large of a preview -- Britain our previous rather small sonic coming here in increased that. Move this over. And now we have all these controls on the left. Who know there's a bunch of controls in here and there's even little taps of additional controls you don't have to normal. So what I want to do here is we have limited time is covered the essentials okay comfort itself in your first off strength than similar capacity in Photoshop. Where if you're used to having some sort of a fact and you want to get the lesson it. You can lower the capacity and the effect goes down a down lesson last I -- start off a strike cranked up as high as they can go. That way this can do as much as possible in the image in the end I can always lower it okay. Then below strength something coat color saturation which is in general colorful images and so I want the image to be more colorful I'll take that and bringing up. In how many images you can just practice -- accounts. Yeah you have to be careful though because one thing with H two yard is it's very common. To see images that are over saturated and -- the -- rusty can't really read. So. You know use some restraint there. We have previously you can kind of know going up to preview doesn't update in are actively though you have to like move the slider let go it might take a moment yeah. All right they and we have some of the controls let's take a look at them in the order that I usually miss them. Down here we have the white point in black point if you happen to be used to using levels and -- That would be the quantity and sliders that -- just below his program -- levels but if you're not used to levels. Then what these do is the white point slider controls how bright the brightest portion your images. So right now if you look at the brightest portion of this image. I'm guessing it's down here near the bottom right it's not all that bright so I want to write that up I can bring up white point. And I can decide if I want that area to have detail are not so I bring up white point too far we're -- up with white button. Two black point does the same thing to the dark part of the image we can decide how darkest darkest area. And usually I just bringing up the littlest bit. To make sure that it's not at zero. Because that's gonna just make sure that we have. Black within the image one I think not a zero I ignore the number sometimes the numbers says zero even though you've moved it I think this kind of murky. So I'm just gonna have that the littlest enough. All right so white corn and black point simply make sure we're using the full brightness range we could've used within Photoshop. And look here we have a choice col luminous. In really I would rather have that be called shadows because that's what it affects movement is how -- is shadows of dark areas within the image. So if I bring up bloom and possibly watch what happens in there in the dark here yes. Take a moment for a preview -- yes. And if you -- tremendous not just bring it all the way out. You now we can see what's outside the window and nothing would on the floor and art you and your controller. Now an -- to do this. This program needs to be able isolated areas. -- field isolate its outside the windows beneath the of the Iceland was in the dark part of the image basically it does not it needs to create a transition between the two areas. That transition can either be really small in rather abrupt work in the bidding. When it's big it blends together more -- to normal photograph him when it's small you can get to look more like -- drawing. In the weight control that as a pure with a setting collects movie. The higher this is the bigger the transition. In the -- the transition has no more it has a chance to slowly blend into the surrounding image so let's see what it looks like a different -- and insects or bring it up real high. We're gonna look at supposed to photos when it movement asset bring this lower and lower. It's it's gonna start look at it more like a cartoon aura drawing or something else out in this is another part of people go overboard. Yeah when you first -- started with -- this software you're just not used to -- only get this kind of detail and get this kind of looks of people usually end up going way way too -- puts them. So lights moving if you want to look like a photograph given high. If you want to look like a drawing keep it low and so what I do is oftentimes I'm going for the look at the drawing. And so I'm gonna go the lowest setting to give you an acceptable result. Song gonna bring this up a little bit because that's not quite acceptable for mind. Neither right there. We go without. So remember looming hostage to control -- British editor and then you gotta play with lights moving to control the transitions to get what you want. Don't get the entire image is too dark you do have a setting called gamma. In gamma is like if you happen to be used to even levels it's like the middle slider loves him but not everybody's used to. Levels so this is like just a brightness slider controls overall brightness. So I bring this up a little -- I can brighten the image. Consider the difference between this slaughter called gamma. And the one above it's called them an Osce is -- Osce concentrates on the shares. It gamma works on the -- but yeah. Now we do us and other tabs in here with other controls and I'm not gonna cover the moment is gonna show you what they are under colored temper. It sure would make the image feel warmer or cooler and in and you can control how colorful bright part of your picture is for the dark for your picture -- separately. Under micro though these settings are important. Micro contrast is gonna go in and exaggerate fine details of in the image. So yeah any text. Sure what you're get a Stucco wall and you see the slight hint of texture weren't here -- this picture of this rust and everything. I it's going to exaggerate that. So if I wanted illustrated look what looks market drawing I'm gonna crank up micro contrast. If I want more of -- photographic look I'm either going to leave it in the middle -- might even bring it down a little bit. Now this became a little dark I can always go back to the other sliders settings and in -- an honest. I'm gonna bring it council that. Too high. I'm going pretty illustrated look at this image and then below that we have another setting called micro smoothing. It automatics anything with the words smoothing. If you want this to look like photographic result you want to make anything look towards smoothing -- really high. If you want it to look more illustrator then you want lower and lower settings when it comes to anything with a singles. So if I want this to look a little more photographic can bring this up. Did you see that it's not exactly is -- dashboard quite that much I'll bring them back down. Entree in here -- yeah so I can -- temper it a little bit. And so if you're going French illustrator look I would go through the lowest it's micro smoothing setting the gives you -- acceptable result. If you're going for a photographic look I would go as high as didn't go for the most part -- then there's one other tab. It's ass watching each stands for shadow and light. In the end you have smoothing for your shadows and highlights the meantime I used on is if you ever have the Bayern noon day sun in your shop. In in that -- any sign. You didn't capture shop -- actually had -- because most the time the new dates I was gonna be blown out new details sometimes by running it through this it actually darken the sun. It looks like grey blob. In sort of prevent that you can bring up lights burning and by doing so it gives you smoother transition into the white and if you're gonna watch the clouds might get a sense for. What's going on in there. But I find it's essential when you have like -- their -- And ends up dark and up that sun. ICD -- coming out in the yeah and because oftentimes you'll see with HD aren't that certain areas look overly dark we're just doesn't look natural comedian sometimes the pilots moving you know. Shall smoothing we'll do a similar thing into the shadows if you have any areas that should be solid black and it's artificially lightened in the amount. You bring up shadows moving it's gonna allow it to more smoothly blend in the solid. But most the time it immediately with us. So anyway see all these things are all sorts of on the main ones you need to know though our -- saturation is go colorful images. Looming -- that he is how -- shadows. White point in black point. Controls the extremes of white and black and your image and how right they are and gamblers over Albright. Looking good so it takes a little bit of practicing here when you're -- you click okay and it can take a little while offered to process. There's one last step you need to do. In that is you need to convert the image either eight -- sixteen. In so once this is done all you do is go to the image menu choose mode and got -- sixty. Now it says this file now. I'm not sure I've done my -- the don't know the process in the corner. They clearly -- become quite large but once you convert them to eater sixteen bit Dennis moreover normal -- Going to -- pretty big we're looking at sixteen point seven so and 32 bits that's pretty big yeah this images -- five. So the last step here is to convert from 32 bit load -- either eight or sixteen. It can't you don't know what these mean. This -- a user I would just go with it could if you don't know what it means most people work with him if you're knowledgeable about it then you pick the one you think is appropriate. -- so for now going to eat this'll come up and all you want to do is click okay ignore the settings. Monica okay this is your starting point. Now with this you can use this is just the base image where you can coming here to make any kind of adjustments afterwards that you like. He's coming here and he's brightness and contrast use anything you want to fine -- this image. So I don't think. This is being."

" The end result I think it is being the starting point. Where you start with HCR and then you refined in Photoshop."

" You have to come back next week in pictures of stuff that sounds great thanks for convent just -- you guys remembered this is planning. This is the way to learn to sit there and play and if anything you'd like to see on the show email me -- revision3.com. You can also check out this pixel perfect form that revision3.com. -- slash form. Join the discussions about the shelf and influence a future episode also your artwork can be used as background. Back there because it's really -- in the green for us. Okay now me designs that certain revision3.com. And background should be 1280 by 720 pixels and -- JPEG. So hopefully I'll see you next week and we can take this another step. Fear that."

" War. This episode of pixel perfect is brought to you by Netflix and godaddy.com. Hello and welcome to pixel perfect would be -- honoring the show where I assure you all kind of stuff. First I want to thank Jeremiah knows that his background -- this pissing me. I'm cool -- today on today show. I'm gonna answer a question now a lot of people have been coming up with in fact even Patrick Norton -- organ and a hallway of these -- One of those about HD are thought that each DR. So of them have the master of its DR here on the show to talk about what it's all about the show you how to use it but don't we start. Let's thank our sponsors first. Netflix. Would Netflix you can read over 90000. Titles yet 90000. Including lots of Blu-ray titles with free shipping both ways to your home. They now have a -- forty shipping centers almost all deliveries happening just one business day. The Netflix plans start from four dollars and 99 cents as a new member you can get a no risk two week free trial membership check it out at www. Netflix dot com forward slash pixel perfect and remember. He data type that they'll WWW. And use this code. Also I want to thank godaddy.com. If you want to make an impact online godaddy.com. Has what you need. Dot com names -- lower -- dollar 99 plus -- world class hosting fast and easy website builders and much much more. So now. You -- not talking about it's DR. So what is six yards high dynamic range what does that mean well. My friend Ben just came -- this great little TV that explains the whole thing it's from extreme it's called. Then will more high dynamic range if you are mastery why he's master he's the man in his boot thing got to pick up. And to tell you about this stuff that's what the Ben Ben -- will mark. They had it again aren't there how the government to -- Itself what is all this stuff what is -- what's it about --"

" Here allows you to you. I capture scene you captured Fulbright and strange of that scene -- more like what your eyes -- them whereas -- music camera you have a much limited. Range of brightness levels you can capture -- you can either capture the highlights -- shadows or something in between but if you were shooting mid day where the sun is out is really bright one here in another area that's really shady. It's difficult to capture the full range but with HD are we take multiple shots and we can combine them together into one has that Fulbright answering. Cancer at about one shot with a web multiples I think that's right yeah so terminal -- here's an HER shot for instance. In in this case if you look up these windows you'll notice that you can see the you can still see that -- tell it's him and that that so this is more likely you're I would see if you're viewing the scene my. But did you take your camera you try to capture that what happens is you end up choosing between capturing what's outside those windows. Don't give a much more limited range of your camera can capture. It midday shooting is difficult because you why Breton a strange here we can capture of the highlights but we have nothing inside the car. Or we capture the shadows get into the floor or in the car but by the time we do the windows or to blown out solid one and have. And then we could take something in between to try to get a compromise my would you call -- a compromise not on anything yeah. -- nothing but if we take all three of those shots if the darkest -- the key there is you take the dark shot and you want to make sure that there is no blown out -- Nothing in there are solid -- in on many cameras you consider to be noticeably keys. Where if I bright -- emissions of turning solid white and -- blinking on your little screen itself I have that thing turned on on my dark shot what I want is no blink is at all meaning nothing solid one. In the only thing I care about this shot. Is the brightest part of the color button is long as I have. They aren't starting from that I'm going to end up going brighter and then shooting another shot even brighter. Most of the time for me I due to stops difference in exposure. Between -- but if you want the absolute highest quality you do one stop difference. In that but. I'm pretty lazy to write about a tech -- is their Q one thing. It's obvious but you do haven't also have a track process every shot is identical. Ideally yes -- you get good at this you can set up your camera to automatically take these multiple shots of him in -- oftentimes only the working -- upon. War in some cases even handle. Okay but you have to only progressed and don't start with right I would say that. These problems about. It for shot it take you want good highly -- you don't care about the rest of the image. The second shot you take is just gonna be to stop brighter than -- and then. Sometimes you're gonna need to take the third shot for shot or even effects shot. And that would be you want to keep going and tell the darkest shadows what I would call well lit. It looks like you shine a flashlight in there that kind of thing I -- in the shadows aren't all that right they don't look wildly. Then here's my third shot in I wouldn't quite call that well lit I should really go one step brighter. But in this case they didn't and we'll be fine but not all that means is that a lot of detail and that's for sure but for what one. Even further than this even -- it really nice the gas and so anyway take these three photographs and then here in bridge you gonna select them. And then we're gonna squished in together by going -- to the tools menu in bridge using Photoshop. There's a choice called virtue HD on them. In then this is gonna chug for one. Because what it's doing what we're waiting is this taking these three files it's putting them into the layers how to separate layers. And that's gonna be something special to squish them all together into a single layer. So you don't end up with three -- even though you're gonna end -- three in the layers how to begin with you can -- one. But it's gonna be odd because. This is also designed for people that do 3-D can do video. In those people have a different purpose than photographers and people just want an end image. What they end up wanting is they want an image where things are brighter than -- out the windows and things are darker than black in the floorboards. Because then let's say uses and 3-D scene when you shine a light source into the car will suddenly should -- CD -- in the area that used to be black right back I think. So the key here is this preview you should ignore. I'm because. This is just a preview for three people in four. People that do video. That's all you're doing here is that make sure that this. Little menu in the upper right is set to 32 bit and then click okay. Now quick question is is handling it like photo merge so if there's a -- Eskew and the thing will line them up yes and that's how can get away with shooting on a mono pod -- sometimes hand held -- because if there's a slight difference in position it will use the same alignment that you're counting in photo merge. -- you want try to -- America. Now one thing that's really bad and HQ art is any kind of movement in the scene. If there's a person walking across here -- something like trees floppy in the breeze and stuff. Then these images don't line up perfectly and you're gonna get some aren't acting right in this case I have some --"

" It's hard to see but it's in the lower left corner -- along here there was some sort of material. In here that Saddam. Ended up. Having some movement -- Intuit is gonna -- on edge and that's something I can usually -- section -- at some kind of damage in the car anyway so good. So anyway this the -- for video and three people moved in now what we want to end up doing is something known as tone mapping. Tom mapping is taking this image which has a tremendous brightness range in squishy it into a normal. Range. And there -- a few different choices of how to do that if you want to do where it's built into Photoshop on need to do is come over here to the image menu choose mode. -- switch to either eight or sixteen. Now if you're not another eight or sixteen bit if you're really don't know then you're usually historically and it will be here really know what this means and -- your personal preference. Other -- that just because that's what most people. On better not to -- and you. Now it here this gives us some choices of how to squish that really wide registry to nor normal file. It appeared at the top we have four choices and how to do it. The first one is called exposure and gamma in here you have an exposure slaughter -- brighten up the image. By -- how hard -- you build a scene in detail in those dark years of the car and none else gamma. Which can brighten up to -- shadows forming. But this doesn't give -- much control and I can also it's extremely sensitive if I move that exposure slider just a little bit the entire image can become solid. And but if we switch over here we also have something like highlight compression which does everything forests but -- certainly like the results. -- some images can look great but on the excellence not quite. We also up equalize his surround sound too bad that's picking going to take a look at that. So we are satisfied with that we just click okay and we be done. Now if you want the most control what's built into Photoshop then what you want to do this just local adaptation. Now here it looks like just two sliders but actually it's a lot more if you click on this some more right here. You get occur then now this is really for people don't know how to use curves and I'm not gonna have time here to you. You know demonstrate their -- But if you happen -- don't occur due Kurtz you can police then I'm gonna show you alternative and a moment and I find it's much better than all these this is tilted. And I'm coming here and make many modifications here in and of tweaking this image and make it look a lot better. I and I can click on OK and boot but I'm gonna cancel. Because I find Photoshop is great combined together the images it's great king alignment right it's great for prepping the file. But if you really want control and you want to be able to get an interest in looking image planet using a plugin. Okay this plug in is called automatics. In photo -- would give you much more control then what Photoshop does. So I use Photoshop to merge the images but then he is a plug -- you can purchase it's usually 69 dollars. In installing Photoshop. There's one of odd thing though and that is. Before going in -- photo Macs I choose step backwards from the edit menus is okay. Because what happens this Photoshop does some odd thing with this preview. If you compare this preview -- you what you saw in the previous dialogue box where it was just merging together before right click okay it looks a little bit different. And if you -- step backward. It should look Hussein that just thanks a necessary change okay now what's gonna automatics. -- formats if you much more control. It here first off near the top -- some numbers that controls how large of a preview -- Britain our previous rather small sonic coming here in increased that. Move this over. And now we have all these controls on the left. Who know there's a bunch of controls in here and there's even little taps of additional controls you don't have to normal. So what I want to do here is we have limited time is covered the essentials okay comfort itself in your first off strength than similar capacity in Photoshop. Where if you're used to having some sort of a fact and you want to get the lesson it. You can lower the capacity and the effect goes down a down lesson last I -- start off a strike cranked up as high as they can go. That way this can do as much as possible in the image in the end I can always lower it okay. Then below strength something coat color saturation which is in general colorful images and so I want the image to be more colorful I'll take that and bringing up. In how many images you can just practice -- accounts. Yeah you have to be careful though because one thing with H two yard is it's very common. To see images that are over saturated and -- the -- rusty can't really read. So. You know use some restraint there. We have previously you can kind of know going up to preview doesn't update in are actively though you have to like move the slider let go it might take a moment yeah. All right they and we have some of the controls let's take a look at them in the order that I usually miss them. Down here we have the white point in black point if you happen to be used to using levels and -- That would be the quantity and sliders that -- just below his program -- levels but if you're not used to levels. Then what these do is the white point slider controls how bright the brightest portion your images. So right now if you look at the brightest portion of this image. I'm guessing it's down here near the bottom right it's not all that bright so I want to write that up I can bring up white point. And I can decide if I want that area to have detail are not so I bring up white point too far we're -- up with white button. Two black point does the same thing to the dark part of the image we can decide how darkest darkest area. And usually I just bringing up the littlest bit. To make sure that it's not at zero. Because that's gonna just make sure that we have. Black within the image one I think not a zero I ignore the number sometimes the numbers says zero even though you've moved it I think this kind of murky. So I'm just gonna have that the littlest enough. All right so white corn and black point simply make sure we're using the full brightness range we could've used within Photoshop. And look here we have a choice col luminous. In really I would rather have that be called shadows because that's what it affects movement is how -- is shadows of dark areas within the image. So if I bring up bloom and possibly watch what happens in there in the dark here yes. Take a moment for a preview -- yes. And if you -- tremendous not just bring it all the way out. You now we can see what's outside the window and nothing would on the floor and art you and your controller. Now an -- to do this. This program needs to be able isolated areas. -- field isolate its outside the windows beneath the of the Iceland was in the dark part of the image basically it does not it needs to create a transition between the two areas. That transition can either be really small in rather abrupt work in the bidding. When it's big it blends together more -- to normal photograph him when it's small you can get to look more like -- drawing. In the weight control that as a pure with a setting collects movie. The higher this is the bigger the transition. In the -- the transition has no more it has a chance to slowly blend into the surrounding image so let's see what it looks like a different -- and insects or bring it up real high. We're gonna look at supposed to photos when it movement asset bring this lower and lower. It's it's gonna start look at it more like a cartoon aura drawing or something else out in this is another part of people go overboard. Yeah when you first -- started with -- this software you're just not used to -- only get this kind of detail and get this kind of looks of people usually end up going way way too -- puts them. So lights moving if you want to look like a photograph given high. If you want to look like a drawing keep it low and so what I do is oftentimes I'm going for the look at the drawing. And so I'm gonna go the lowest setting to give you an acceptable result. Song gonna bring this up a little bit because that's not quite acceptable for mind. Neither right there. We go without. So remember looming hostage to control -- British editor and then you gotta play with lights moving to control the transitions to get what you want. Don't get the entire image is too dark you do have a setting called gamma. In gamma is like if you happen to be used to even levels it's like the middle slider loves him but not everybody's used to. Levels so this is like just a brightness slider controls overall brightness. So I bring this up a little -- I can brighten the image. Consider the difference between this slaughter called gamma. And the one above it's called them an Osce is -- Osce concentrates on the shares. It gamma works on the -- but yeah. Now we do us and other tabs in here with other controls and I'm not gonna cover the moment is gonna show you what they are under colored temper. It sure would make the image feel warmer or cooler and in and you can control how colorful bright part of your picture is for the dark for your picture -- separately. Under micro though these settings are important. Micro contrast is gonna go in and exaggerate fine details of in the image. So yeah any text. Sure what you're get a Stucco wall and you see the slight hint of texture weren't here -- this picture of this rust and everything. I it's going to exaggerate that. So if I wanted illustrated look what looks market drawing I'm gonna crank up micro contrast. If I want more of -- photographic look I'm either going to leave it in the middle -- might even bring it down a little bit. Now this became a little dark I can always go back to the other sliders settings and in -- an honest. I'm gonna bring it council that. Too high. I'm going pretty illustrated look at this image and then below that we have another setting called micro smoothing. It automatics anything with the words smoothing. If you want this to look like photographic result you want to make anything look towards smoothing -- really high. If you want it to look more illustrator then you want lower and lower settings when it comes to anything with a singles. So if I want this to look a little more photographic can bring this up. Did you see that it's not exactly is -- dashboard quite that much I'll bring them back down. Entree in here -- yeah so I can -- temper it a little bit. And so if you're going French illustrator look I would go through the lowest it's micro smoothing setting the gives you -- acceptable result. If you're going for a photographic look I would go as high as didn't go for the most part -- then there's one other tab. It's ass watching each stands for shadow and light. In the end you have smoothing for your shadows and highlights the meantime I used on is if you ever have the Bayern noon day sun in your shop. In in that -- any sign. You didn't capture shop -- actually had -- because most the time the new dates I was gonna be blown out new details sometimes by running it through this it actually darken the sun. It looks like grey blob. In sort of prevent that you can bring up lights burning and by doing so it gives you smoother transition into the white and if you're gonna watch the clouds might get a sense for. What's going on in there. But I find it's essential when you have like -- their -- And ends up dark and up that sun. ICD -- coming out in the yeah and because oftentimes you'll see with HD aren't that certain areas look overly dark we're just doesn't look natural comedian sometimes the pilots moving you know. Shall smoothing we'll do a similar thing into the shadows if you have any areas that should be solid black and it's artificially lightened in the amount. You bring up shadows moving it's gonna allow it to more smoothly blend in the solid. But most the time it immediately with us. So anyway see all these things are all sorts of on the main ones you need to know though our -- saturation is go colorful images. Looming -- that he is how -- shadows. White point in black point. Controls the extremes of white and black and your image and how right they are and gamblers over Albright. Looking good so it takes a little bit of practicing here when you're -- you click okay and it can take a little while offered to process. There's one last step you need to do. In that is you need to convert the image either eight -- sixteen. In so once this is done all you do is go to the image menu choose mode and got -- sixty. Now it says this file now. I'm not sure I've done my -- the don't know the process in the corner. They clearly -- become quite large but once you convert them to eater sixteen bit Dennis moreover normal -- Going to -- pretty big we're looking at sixteen point seven so and 32 bits that's pretty big yeah this images -- five. So the last step here is to convert from 32 bit load -- either eight or sixteen. It can't you don't know what these mean. This -- a user I would just go with it could if you don't know what it means most people work with him if you're knowledgeable about it then you pick the one you think is appropriate. -- so for now going to eat this'll come up and all you want to do is click okay ignore the settings. Monica okay this is your starting point. Now with this you can use this is just the base image where you can coming here to make any kind of adjustments afterwards that you like. He's coming here and he's brightness and contrast use anything you want to fine -- this image. So I don't think. This is being."

" The end result I think it is being the starting point. Where you start with HCR and then you refined in Photoshop."

" You have to come back next week in pictures of stuff that sounds great thanks for convent just -- you guys remembered this is planning. This is the way to learn to sit there and play and if anything you'd like to see on the show email me -- revision3.com. You can also check out this pixel perfect form that revision3.com. -- slash form. Join the discussions about the shelf and influence a future episode also your artwork can be used as background. Back there because it's really -- in the green for us. Okay now me designs that certain revision3.com. And background should be 1280 by 720 pixels and -- JPEG. So hopefully I'll see you next week and we can take this another step. Fear that."