Click on any phrase to play the video from that point.
[♫music] [ADOBE®TV Presents]
[Russell Preston Brown] [in...]
[The Russell Brown Show]
Welcome to the Russell Brown Show.
And this episode's all about using
Adobe PhotoshopTouch--a great new application,
of course, here on Tablet devices.
In this show, I'm going to talk about
Directional Blur.
Now, things need to be fast and simple
inside of Photoshop Touch,
and I've got a great demo for you--I'm using
some iStock images here
for this demo.
I've got 2 layers in this document--notice I can
turn the car on and off--works really well
for a project like this.
I'm targeting my car, in this case,
and I'm going to duplicate the layer,
simply and easily--just like that.
So I have 2 different layers.
I'm going to select my background layer,
right there, and I'm going to turn off
the visibility of my top layer.
And I'm going to go right up here
to my effects menu--right here.
There's a great effect here, under the
basic effects, called Directional Blur.
It doesn't get much nicer--
a simple utility like this
that allows you to quickly go in
and adjust the blur.
I'm going to adjust--just like that.
Now, check this out--here's a super
user tip and technique: if I click and hold
on the angle, and I move the angle here,
closely, within this space--
it moves in very small increments.
But watch, as I move my cursor away.
I'm still holding pressure down,
but now I can move in exact increments
of 90 and 45 degree angles here
to get just those positions.
But remember that move in close for accuracy,
move out for quickly jumping
to exacting angles--great, great feature.
But I'm going to keep this exactly at the
zero angle for this project,
and make that setting, just like that.
So I really want to blur this, and I'm going to apply that.
Remember, I made a second copy of the car
so I have my original car on top.
I'm going to turn the original on.
Now, with that blurred version in the background,
I'd like to adjust its position
because I really want to make this look like it's moving.
So I'm going to select the Transformation Tool here at the top.
Here's another great super user tip and technique:
Instead of sliding things around on the screen,
I'm going to click right on the X value--
right on that value, right there.
I'm going to enter in: 450,
and then select the check box.
It slides that over perfectly for me--just like that.
And I can select Done.
So for more accurate adjustments,
just click right on a number and enter in
the value you want.
Okay--so now I have a fast moving car
and a slow moving car.
The best way to combine those--and the easiest way--
is to go to our More menu, right here--
under the ampersand--and I'm going to select the Add Fade.
This is so incredible;
a really, really nice, simple interface here.
I can simply drag these points
and then fade between the 2 images--
that's if you target the correct image,
but Russell Brown never makes a mistake.
But this--I did this just so you'd see that
I can make mistakes too.
I'm going to select the topmost layer,
then go back into the effect
for adding the Fade.
Keep that in mind--you don't want to make the same mistake that Mr. Brown made.
Select that top layer--now you can see the effect.
And look how fast you can make the car move,
simply by moving these endpoints
and adding the Fade.
Extend this way out, and you can start to get a
little bit of Fade happening here
on the front tire and the back tire.
Now that's an easy way
to make a moving car--
remember, 2 different images--
1 with a Directional Blur, 1 without--
and then use this fading effect
to give you your results.
You could take this 1 step farther
because there's always more.
You can select your background layer and target
it here; then go back into your effects,
and you could also add a little bit of a
Directional Blur to the ground itself.
So there's a little bit of blur happening .
on the ground to add a little bit more of effect.
There you have it--a really quick way to
make it move, here inside of Photoshop Touch.
Give it a try. [♫music]
[Executive Producer] [Bob Donlon] [Producer] [Karl Miller]
[DIrector] [Kush Amerasinghe] [Post-Production] [Erik Espera]
[ADOBE®TV Productions] [tv.adobe.com]
