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samueld6911674
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samueld6911674
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‎Jan 09, 2023
07:34 AM
Either way its messed up, at least one is displaying wrong. Hi @reproo2773183 ,This has come up an a few other threads. Any soft proof simulation would be a color managed conversion from the source color profile (US Web Coated SWOP in this case) into the System’s Monitor profile—the monitor profile is provided by the display manufacturer, or generated from a monitor calibration. I think there is a clue to what’s going on in the custom proof simulation description: When there is a conversion, the source and destination profile gamuts never match, so the preferred rendering intent affects how the colors are brought into the monitor’s RGB gamut, which would usually involve some kind of compromise, e.g. 100% cyan is typically well outside of a standard monitor’s RGB gamut. When Simulate Paper Color/ Simulate Black Ink are checked, the description tells me the simulated conversion’s rendering intent is absolute colorimetric. It also tells me the option produces the most accurate proof, but I think that might mean the most accurate gamut mapping. In the real world if I compare a printed press sheet to my soft proof display, the absolute colorimetric soft proof rarely produces the best simulation relative to the print.
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‎Jul 11, 2019
04:55 PM
I thought that might work but photomerge seems to get confused if the images are taken from the same location and angle. The camera's position has not moved in my case re: last post
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‎Jul 11, 2019
02:19 PM
Hi -- I have around 100 photos taken from the same position on a tripod of a street corner. The only thing that changes are the people that pass by. My plan is to merge the photos together and create a montage of people. I could do this by masking each photo one-by-one but that feels time consuming. I thought blend modes might work but that sacrifices the entire look of the image. Is there a plug-in or a command that could make this process simple? For example, I'm guessing you could make a script that analyzes two similar photos and makes a selection of the just the differences.
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‎Mar 15, 2019
09:46 AM
when you mean "set in photoshop" you mean created in photoshop, correct? i.e. text or shapes that I create using the ps type tool or the pen tool, respectively. On the other hand, anything linked to a photoshop file, such as an illustrator file, will always raster -- I'm assuming.
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‎Mar 13, 2019
03:43 PM
I may not have been clear enough. I used the sample image (from The Prisoner, great TV show from the 60s) as an example of a result I am looking for -- I'm not trying to manipulate that one specifically. I'm looking to take a normal photographed face and manipulate it the point where is becomes anonymous/smooth/un-identifiable.
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‎Mar 13, 2019
03:38 PM
I have a few myths I need debunking about smart objects and vector graphics in general. Let's say I link a vector file from illustrator to a photoshop document that is fully rasterized (pixels). I know that this vector link is now infinitely scalable in the photoshop document i.e. whatever size I print at the vector smart object will look good, independent to the rasterized image. However, what exactly designates "good" for a vector smart object when printing. More specifically, what is the ppi of the vector smart object when I print. Can I control this? Does a vector smart object in photoshop print as well as printing the .ai file directly? In digital space, say I export this hybrid illustrator/photoshop file as a pdf. Will my vector smart object appear crisp and smooth? How smooth?
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‎Nov 13, 2018
11:14 AM
Hi, I'm working on a digital art project that has a step which involves deforming a face. Specifically, blurring or smudging the image so what's left is almost a gradient effect - say "silver-surfer-esque". OR this: : As you can see, almost unrecognizable and very smooth. My next step is to use the displace command to wrap a pattern over the face w/ blend tools, but getting this part right is important. The more abstract the better. any suggestions?
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‎Sep 24, 2018
01:16 PM
Thank you for the advice and theory. Currently I'm working on a late afternoon street shot with very little sky and shadow via iphone 6 cam so it should be simple enough with premiere. Looking forward to trying out after effects with further footage. So, in terms of masking objects... AE is the way to go?
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‎Sep 23, 2018
06:23 PM
Specifically I am planning on creating a day-to-night effect with some film stock. I've noticed that you can do this in both premiere and after effects based on tutorials online. Which one is recommended for this case as well as color correction in general? Does one give you a better result?
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