Shift to dissolve linear density

Similar Questions

• Math behind Photoshop linear density (add) blending mode

  Yes, I know this sounds like a stupid question, because the web is littered with answers him, say, he adds just two components. But this is only justified if there is no transparency involved. As soon as there is transparency involved, it becomes more complex. So, what's the math behind the linear density, blending mode, if the top layer is semi-transparent pixels (= less than 1 alpha)?

  I need only the math for the RGB values.

  Your fifth line is the expected result when the intermediate result of the (high + low) is tight with a maximum of 1.

• SHIFT key shortcut 2014 CC and Bugs hand tool

  I have problems with the space bar shortcut doesn't DO NOT WORK in Photoshop since upgrading by 2014 CC. I can't get the hand tool to work using the space bar, as well as the shift to a linear displacement and proportional scaling has stopped working at the same time. I just plugged my Wacom tablet tonight, who has a tool integrated in key hand. It does not work. There is literally NOTHING. These features have disappeared for several months because I upgraded to CC 2014. I'm on a 2009 iMac running OSX 10.8.5.  This bug occurs regardless of what other programs that run in the background. Any ideas?

  Try this: Menus, shortcuts, Lasso tool, or Photoshop constantly run when using a Wacom tablet. Mac OS

• after effects to export photoshop layers

  Right, so I've never really been much of a Photoshop guy.  As a Motion Designer / 3D Animator for 15 years, I've never met anything, I could not do with After Effects and/or Cinema 4 d (with Final Cut or more recently first added for good measure).

  However, I find myself in a unique and quite frustrating situation.  I need to export a model of the single image as a PSD layered image.  Easy, isn't it?  Of course, but it seems to be a few big enough caveats.  Whenever I try, I get the message:

  

  So, the first thing I did is get rid of my caches either replace them with masks or rendered a flattened version of only these two or three layers, then I could re - import and replace the dull pair of the track with just a normal raster layer.  I did until my computer was completely free of caches, and yet I still get this message.  Now, my efforts have contributed to the appearance of the resulting file when opened in Photoshop, but I still a change of color of light cyan to a shade much green, and I'm getting some transparency that I wasn't expecting in a few places.  Only blending modes that I use are Normal, Add, screen and multiply.  I don't know much about the PS, but I know she has these means available to it.

  The message speaks however for these 2 things... In other words, there must be yet ANOTHER incompatible element in the game, but I don't know what it is, or even how to track him down.  At this point, I almost want to just make it individually to each layer and try to manually assemble in Psalm... but come on. Putting aside a moment that two requests made by the same company, ostensibly the same purpose - image manipulation - not being able to communicate more effectively with one another is not unlike having 2 children and a teacher only Spanish and another Italian. Of course, they would be able to communicate in ways, but any significant exchange would be very difficult.

  Is there someone here who can help me to know what that is verboten in this type of workflow, or if it's something that doesn't work as it should?  Are there any workarounds or known procedures to make the file open in Photoshop look even as he did when he left After Effects, or is it a largely untenable proposal? I have to suck it up and start at level 0 in a new program?

  Any ideas or help would be greatly appreciated.

  See you soon,.

  -Willie

  Right - I discovered caches fairly quickly and eliminated.  As you can see from my screenshot above, I'm not using the mattes in my computer.

  I decided to go on the removal of layer by layer, until I had an export without the error message.  Turn, it's the Add mode that causes the problem.  So, I made an export of all of the layers that did not employ this mode and then exports the 2 layers that use it.  I then opened the batch in PS, flies over them adjusted until I had the right look and 2 isolated layers.  Oddly, I ended using Add (which PS called linear density) but with better results when EI he did 'automatically' export.  The only difference now in my PS layer stack, it is that I had duplicate layer flare (and ramp down its opacity to about half) to get the same 'brightness', I had in my AE comp.  I also no longer had the hue-shift reported previously.

  So, in the interest to have a definitive list of the updates warn workflow, we know now there is a problem with the way After Effects converts the layers with the straight-line method in a layer of PS.

• New items - how to remove sweat stains!

  Hello

  I'm changing my wedding photos. I got married on the beach where we were all sweating.

  My father in particular. His shirt has his shirts and sweat stains is also very textured and patterned.

  How can I remove these? What tools should I use and where can I find them?

  Thank you very much!

  Well, I got to play with it. I came with two versions... the task of sweat fix is identical in both. The difference in the two versions is that in a version of MOM's hair is bigger that I worked the upper part of it. In the other version, I only worked on the ears down to make the less wet hair.

  Version 1:

  Feel free to download them if you want. I downloaded on pixentral also as I think that those who will be larger than if you download from the forum.

  I had stains from sweat one differently than the guys who have already posted.

  Halos:

  1. create an empty layer above the image.

  2. take the clone stamp. Check the box in the options bar that says something like "sample all layers" or "Use all layers"... not sure what it will say in E8. Also make sure that the box that says "aligned" is checked.

  3 change the blending mode of the layer of the Virgin to "clarify".

  4. clone through stains from sweat. (Don't forget to taste of a region is narrow and similar, so you get the correct brightness... so as if the task is in a sample of fold in fold in a region that does not have the task of sweat.)

  Hair.

  I used my favorite hairbrush which is be made by freeware. Here is the link to the brush file:

  http://www.cooltuna.com/Poser/video-tutorials.html

  You don't have to bother with the brush configuration tutorial as to full photoshop... just download the brush set brush. The brush I use is the last overall. (Hair of light 1:1)

  1. create an empty layer above the image. Leave Normal blending mode; 100% opacity.

  2. take the finger tool. In the options bar, check the box in the options bar that says "sample all layers" or "Use all layers"... yet once, do not know which way E8 stipulates this. Brush Mode will be normal; Strength 100%.

  3 select the hair of light 1:1 brush and brush the hair down after the hair of the mother of the sort flow.

  4. then, I made a composite of layers I have until now. Create an empty layer, and then press alt + ctrl + shift + E on PC. (On the mac opt + cmd + shift + E). It will be a composite of all the layers that you currently have.

  5 operate the filter

  6. I thought the task was a little flat, so I created another layer of white. I grabbed my brush and set the edge as 1:1 light hair and picked hair MOM... a medium brown. I painted a few strands of hair then changed its blending mode of this layer to "Linear density" and reduced its opacity to 51%.

  7. to make the hair newly added to blend into the picture, you must add a bit of noise. To do this is to create a layer of gray fill, and add noise. (On PC, hold down the ALT key and click on the layer icon. In the dialog box that appears, select inlay as mode and check the box that says "fill with neutral color..." 50% gray.  Run the filter<>

  Edit: You can use opacity to reduce the intensity of the noise if it seems too harsh.

  Tutorial on how to make a clipping mask:

  http://www.photokaboom.com/photography/learn/Photoshop_Elements/layers/layer_groups_clippi ng_masks/1_layer_groups_clipping_masks.htm

  7 (Alt). For the biggerhair version. Before I #7 step, I painted the top of MOM's hair. I used the brush from 1:1 to clear hair with the paint brush tool. To obtain colors close, I got close, I grabbed my eyedropper and set the sample size in the options bar to 3 X 3. I've sampled around on MOM and done hair temporary swatches of colors with only my pipette came.  Then, I used these swatches to try to bring mom's hair that I painted it. Once the top of MOM's hair was painted I have step #7...

  Edit: I forgot to mention. For MOM's shirt, I created a new layer and changed to lighten blend mode. I sampled at pale green and painted on the task with the paint brush tool. (Look for the shadow of the jacket you want to paint this possibility).

• A swept the problem of sinusoidal displacement measure phase

  Hi all

  I'm performing a simple measure: I measure frequency response using sinus swept VI package audio and vibration. I just wire output signal to two terminals of input (chanels stimulus and response) - so I should get magnitude frequency response is equivalent to '1' at all frequencies and phase equal to '0' at all frequencies. However due to the fact that my card PCI (PCI-6251) is not able to save data simlutaneously, there is a phase shift that increases linearly with frequency. Is there a simple way to solve this problem?

  Thank you!

  Martin

  You can customize the delay without DAQmx by setting the clock to convert frequency I. http://digital.NI.com/public.nsf/allkb/65E7445DB1AA5DC586256A410058697B?OpenDocument&nisrc=LV-2012

  Devices for simultaneous sampling such as dynamic signal Acquisition devices should be used to simultaneous sampling of the guarantee (in hardware).

  If you are satisfied that the current hardware configuration is optimal for your application, you can compensate the phase Swept Sine output using audio and vibration:

  SVFA compensate time delay (XY) (1 Ch) .vi Phase

  

• Why read XML taking so long?

  The 'answer' is perhaps that "XML is not intended for this purpose... "but here is the situation:

  I'm parsing of a directory tree and creating a table of clusters, one for each folder in the tree.  To save it to the 'user-friendly' on the disc format, I chose XML, in part because "it's here", because it is a 'standard', and part because he "embarked" in the file enough data LabVIEW structure it is easy, in principle, to recover the data in the same shape as I initially wrote (i.e. in the form of clusters with a specified TypeDef table).

  I did my routine to a directory with about 2700 folders tree.  It took 14 seconds to analyze the tree, about 0.1 second to write to the file (1.7 MB) XML, but over a minute and a half to read it back in and recover the original data.  Incidentally, I made a comparison between the "written data" and "read data", and all the 25 000 elements (the cluster had 9 elements) are the same, so at least to read and write XML "works."

  I'm always surprised at the 800-fold difference between reading and writing.  I suspect that this shift is not linear with the "size of the problem", since in the beginning, I tried to do this with a larger painting of 4900 what took 0.25 seconds to write, but I "gave up" after what seemed to be too long to wait (sorry, it's so no scientist, but I think it was 3-4 minutes at least).  However, now that I see that there is a difference of 800-fold for my previous example, I'll wait at least five minutes (800 * 0.25 sec = 200 s, 5 min = 300 sec)... (time goes away...)

  Patience rewarded - it took 322 seconds, which is about 1200 times slower (not to criticize my calculations - I'm rounding when I report time, but use the millisecond values when I calculate ratios...).  So the more you do it, it gets the slower.

  Hmm - we are going to prove by doing a small folder.  How about one with only 85 files?  Which takes 21 msec to write and 102 msec to read, a factor of 5 only!  Wow, this is certainly not a linear growth.

  What happens here?  Is there a problem with the analysis of large XML files?  [I must point out that I use a simple XML File reading (array) for the table (of which will prove be cluster), and then in a for loop do a "Unflatten from XML' to recover the cluster.]  I'm guessing that the loop is to behave linearly, as all clusters are (with the exception of their content) identical, then the part "polynomial time" should be "reading of XML File (array).

  Not sure why this should be the case.  It would seem, to me, that since LabVIEW tables are always "identical elements", read a file with 1000 'elements' and turn it into an array of 1000 elements should take approximately 10 times longer than that for an array of 100 elements, unless there is something that is extremely inefficient.  Is this something that can withstand being examined and possibly optimized?

  Bob Schor

  PS - was curious enough to do more tests.  I started with a 'Master Data Set' of 4906 records, then dealt with 'nested subsets' (which is a subset of the master, a subset of the subset, etc.) to try to compare of"apples with apples" (on a PC, of course).  My samples were 20, 210, 2736 and 4906 records.  The write speed of files has been between 10 K and 24K Records/sec on this beach, which is about nearly linearly with size.  However, a similar measure for the reading of records varies between 3K (for all 20 items) and 15 (for all), reducing the size has increased.  I traced a field of logarithmic data and got a slope of 0.1 for writing (a slope of 0 means speed is linear with the number of cases), but a slope of-0,95 for playback)

  
  

• How you can automate BlendMode.LINEARDODGE on a 32-bit image by channel?

  Hi all

  I have a stack of rendered images coming from a bunch of cg I want to create an automation via the mixing layer.

  
  The images are currently 32 bits/channel (think of them as several HDR images on layers).

  I'm trying to combine them using Blend Mode (adding) linear density with Automation to control various lighting sources in a mode of post process.

  I can get the automation of work if I am using 8-bit or 16-bit, but I can not automate via 32-bit. I can however manually the blend over the point mode and click on in the interface in 32-bit mode.

  I'm game for any automation model that will do it.

  Good news,

  I've updated to 2015 of CC and the script works perfectly. woot woot. Crisis averted. Thanks for the suggestions everyone!

• Remove black background of stray light.

  I added a flare of the internet and has a black background. I used the linear density (add) and it is fine. However, when I remove the bottom to make png, black back. I tried to cut out using all tools, but it's impossible. How to solve this? I added a picture when its png and when it isn't.

  Put all your layers of text within a group, then attach your torch to this group. You will not get the flare outside the text box. If you do not use a group, the flare layer will not affect the text layers layer effects.

  

• Remove the gradient of the bands

  Hello

  I use Photoshop CC and I'm currently trying to remove some background gradient banding seen in some photos of company style I took recently. I basically added a circle of the gradient from light to black background.

  Seen on computer the gradient works perfectly - but, seen on a mobile phone (which they would be probably considered - on apps such as linkedin, etc.), the strapping seems to be very apparent.

  I tried different techniques such as the creation of a layer of dithering while working in 16-bit: follow this guide (Photoshop Actions to correct the banding of gradients Photoshop.):

  • Create a new layer (should be the highest).
  • Fill it with 50% graysolid.
  • Making noise: filter > noise > add noise. The parameters are amount : 25%; Distribution uniform =; Monochrome checked =.
  • Now click on Command-F (Ctrl + F on Windows) to repeat the noise on the same layer filter (if you're curious to know why, look at histogram of the layer that you perform the noise filter the first and second time).
  • Set the linear lightlayer. An excellent mode of fusion for this purpose. The half dark shadows is implemented as reversed linear subtraction (as burn linear) and half lighter than the linear addition (as linear density).
  • In the palette layers , define magic values for the layer Opacity to 1% and opacity of fill at 19%. You could (but not, really) read the note below on all the gory details *.
  • We finished. Now lock the layer (the icon of padlock in the layers palette), so it will not react to the mouse input. You can forget that it exists.

  I also added the noise for the gradient layer to see if it seems to help - but it isn't really.

  I would then merge all layers together, resize 960 x 640, convert to 8-bit and save.

  Any advice would be greatly appreciated.

  Photos below:

  Image of the computer:

  

  

  Thank you

  Stephen.

  Without being able to test different approaches to solve the problem before posting one, all that is available is here to work with the pictures that you posted.  In the original and in the second image (which increased the contrast that makes the most noticeable banding), making a lasso selection drop the offending area and applying a Gaussian blur has eliminated the banding. Not fancy, but it worked as a final step. Maybe it's worth a try.

• Gradient to the selected thread dotted mobile

  I'm selecting the dark areas by performing a selection of mobile dotted in the tunnels of this photo. I want to draw a gradient through the tunnels brighting them upward. I think I use the gradient tool, but I don't know the workflow to make a brighter side and the other on the other side a little brighter.

  

  

  I'm not sure this is the type of result that you had in mind. This is how how it was done

  In the Panel dupe layers was made of the blue channel (which will eventually become the mask), its increased contrast and black and white, that areas have been retouched with black or white in overlay mode. The result was reversed with this result:

  

  In layers, a layer of white has been added and the mask has been applied. A selection based on the mask took place of the first Ark and black? white gradient applied. This was repeated for each arc. The blending mode has been updated the linear density and opacity of the layer to about 10%.

• CS6 PS 16bpc shape burst gradient of transparency problem

  Hello

  Huge first post, I tried to keep it concise, thanks for reading.

  The combination of:

  (1) image 16bpc. that contains a non-empty layer with the layer style to:

  (2) race: shaping Burst: degraded; and

  (3) transparency in the gradient (red > semi transparent white) race:

  causes the entire race to make transparent. Changing one of the points of (1), (2), or 3) causes the entire race visit as planned. For example, starting with an image with this combination of shape/16bpc burst/transparency in the gradient:

  -just hang out to 8/32bpc 16bpc renders the stroke properly. Switch back to 16bpc, the stroke becomes transparent.

  -just burst radius shape correctly renders the stroke (in the radial direction). Return to the rafale form renders the transparent stroke.

  -simply by changing the solid red gradient > white Uni renders the stroke properly. Change the solid red gradient > semi transparent white restores the all transparent stroke.

  8bpc + burst + transparency in the shape gradient = correct, partially visible

  8bpc + burst + solid shape gradient = OK, visible

  8bpc radial + transparency in the gradient = correct, partially visible

  8bpc + strong + radial gradient = OK, visible

  16bpc + burst + transparency in the shape gradient = incorrect, transparent

  16bpc + burst + solid shape gradient = OK, visible

  16bpc radial + transparency in the gradient = correct, partially visible

  gradient radial + solid = OK, visible + 16bpc

  32bpc + burst + transparency in the shape gradient = correct, partially visible

  32bpc + burst + solid shape gradient = OK, visible

  32bpc radial + transparency in the gradient = correct, partially visible

  32bpc + strong + radial gradient = OK, visible

  Comments:

  -The race is still there in this combination, such as applying also a shadow reveals the drop shadow is offset a distance by the thickness of the line, it makes it just completely transparent race.

  -The layer itself and the other layer styles are still visible.

  -C' is 100%/Actual Pixels (since it is sometimes a question). Interestingly, lower zoom of ~ 60%, the race renders correctly, but zooming in again, it becomes transparent. Navigation preview renders the stroke correctly at all zoom levels.

  -Flattening/pixelation still renders the transparent stroke.

  -Ditto for new/existing/duplicate files.

  -Ditto for sRGB/ProPhoto/no managed.

  -Even after purge

  -Even after rebooting.

  -Ditto for PSD/PSB.

  -Ditto for the x 32 (on Win7x64) and x 64 (on Win7x64).

  -Ditto for the disabled/enabled reduced GPU.

  I have a workaround, change of the slope, for example:

  Fixed red > red transparent; TO

  Fixed red > white Uni; and the blending mode to linear density parameter.

  It is very annoying, however, and is not always look the same. I'm conversion ~ 400 8bpc multi-layer psd 16bpc to eliminate a problem of widespread banding (several layers, gradients, masks, degraded and degraded styles), number with this combination. The conversion was easily addressed by lot for the 8 > 16bpc part, but lack the layer styles in this combination. Layers with this solution to workaround/combination of treatment must be done manually through combinations of different colors, orientations, amounts, etc. They are all unique compositions with little similarity.

  Flattening/merge layers in 8bpc first to preserve the race and then by converting to defeats the purpose of the conversion of 16bpc 16bpc to eliminate banding.

  Similarly, I use 32bpc Smart layers to these layers, but that means still to find the offending manually layers.

  Last resort I tried to convert in 32bpc, but some of the most exotic fusion used styles are not available in 32bpc; the files are already huge, some of them PSB, is another factor. and I have a lag of contrast when you convert 8bpc to 32bpc which does not occur during conversion 8bpc > 16bpc (they were initially created on a monitor not profiled with colors unmanaged [error made during the transition from sRGB CRT > wide range LCD]).

  Thanks for reading.

  CS6 Mstr Coll PSx32 | PSx64 Win7x64 16 GB i5-750 GTS 250 1 GB

  That seems to be and has been a problem for many versions of photoshop, at least from photoshop cs (photoshop 8) leave.

  Yes, I tested in photoshop cs and seems to do the same in 16-bit/channel with a stroke: shape gradient burst with transparency.

  You could report it on the

  Community customer Photoshop family

• Adding a constant to a single channel for all pixels in a selection

  I have a selection in a document Photoshop RGB.  I would like to add a constant value (say + 16, for example) for all red values for each pixel in the selection.  Is there an easy way to do this?

  Kind regards

  Charles

  Way the easiest would be to channel mixer.

  Second easy mode of fusion linear density (addition) and a layer of constant value would be.

• How to select a color with precision?

  I have an image with many colors. I was wondering how I could select all green in the image.

  The problem is:

  -by "all green", I can still hear these colors that have in their RGB, green values as little as 1, even those that need to be taken in the

  selection.

  Well, if you want to eliminate all green elements would simply want the green channel in black.

  If you want to add all the contents of the Green layer on the blue channel first, you could make that cut the Green layer (with black as background color), then stick on the blue channel and fading of the mode of mixing the Paste on-screen operation or possibly linear density.

  More precisely:

  1. define the background color of a pure black.

  2. in the Panel layers, choose the green channel.

  3. Select - all.

  4. Edition - cut.

  5. choose the blue channel.

  6 Edition - glue.

  7 edit - Fade, choose screen or density linear to add the pixel values you just stick to what was already in the blue channel.

  -Christmas

• How to create something like this?

  Ideas anyone help me to explain how to do sth like this

  

  Make a new layer.

  Shit randomly paint with a soft brush, using different opacities.

  Change blending mode to linear density.

  Add the layer mask and mask on the topic (if any)

  Of course, you can change with oppacities as long as you want, but this effect could be done in 15 seconds.