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Hello, my name is Terry White, Worldwide Design Evangelist for Adobe Systems, and it's my pleasure to take you through the brand new Photoshop CS5 and Photoshop CS5 Extended. So let's start off with one of the new things that customers have been asking for, and that is the new Mini Bridge. Now, of course, Mini Bridge or Bridge itself is one of those things that is really cool because you can actually use it across the suite. You can open up Bridge and use it as your file browser across all of the applications. However, there's nothing like having something built in, so what users have told us is said, "While Bridge is great, I still want that functionality right within the applications." So now, Bridge is a little panel inside of Photoshop as well as the full-blown Bridge. So we'll go ahead and open up this folder and in this particular folder, I've got several images, and of course, I could have hundreds or thousands of files, so of course, it's important to be able to filter so we can filter on things like the star ratings and labels, just like we do in regular Bridge. But more importantly, we can also do a search. So for example, if I search for the word "example" it will go ahead and find all of the things that say "example" in the file name right here inside of Bridge. I can deselect them by just clicking the little X to get back to all my photos. And of course, I can also search by any part of this that I want because it's actually using the built-in search engine for your operating system. So in my case, it's using Spotlight since I'm on a Mac. All right, so now that it's found it, before I open this photo up, let's go ahead and take a look at full Bridge or the regular Bridge . Now, Bridge is still there, so I can get to it just by clicking this Go To Bridge button and that will take me to Bridge, and you're probably saying, "Why would you want to go from one to the other?" Well, remember, Mini Bridge has a lot of the functionality you're going to want, or maybe most of the functionality you're going to want within Photoshop to do your day-to-day job, but Bridge still could do more than what Mini Bridge can do. So for example, one of the things I can do in Bridge--and this will become more important for those of you who are InDesign users-- is that maybe you might select a photo and you want to add metadata to it. InDesign can now take advantage of that metadata, things like the title and description, and Bridge can help you put those things in to all of your images. So that's one thing you would still use Bridge for and another thing that we're about to use it for is the review capability. So I'm going to go ahead and select two things. I've got a Photoshop image and a PDF selected. We'll go up to our View menu and we'll just go down to Review mode or hit the keyboard shortcut for it, and that will bring these up full screen. Now, in this case, what the example here is that the original photo on the left was shot against the cityscape background that it was photographed against. However, we need to put it on a different background for this magazine cover. So let's go ahead escape out of that, and what I want to do is go ahead now and open up this one. Of course, I can do it here from Bridge, but let's head back over to Photoshop because we can also do it from Mini Bridge. So I'll just double-click or hit the Return key or Enter key to open that up. Now, here's the task: I need to select these folks and get them off their original background so I can put them on the new cityscape background. So I'll go to the layer that they're currently on and I'll do a quick selection. As a matter of fact, it's going to be very quick because I've saved it, so I'll just go ahead and choose a quick selection. This was done with the Quick Select tool and as you know, the Quick Select tool, while it may be great on hard edges like the jackets and the clothes, it's not good for soft edges like hair and fur. So in this case, this would not be a good enough selection to cut them out. It would actually look like we cut them out with scissors. So instead, we're going to go in using one of our selection tools-- it doesn't matter which one you select--and all you have to do is with the selection tool, select it, hit Refine Edge. Once we go to Refine Edge, this will actually allow me to view this on any kind of background I want. So for example, I can see it just on Transparency and I can see how hard it is, that it's been cut out. I can see it as an overlay, and again, I can see how much of the hair I'm missing here. and I can see it also, of course, with marching ants, and if I wanted to reveal it on a new layer, I could as well. But I'm going to show it on black and the next thing we're going to do is we're going to invoke the brand new Edge Detection, and this is what really makes this feature sing. So we'll go ahead and switch on Smart Radius and we'll just increase the radius by about 30 pixels. Now that we've got the radius increased, it's basically done a really good job of selecting hair and hard edges, but in this case, there were some pieces that weren't selected properly in the original photos. So we'll go ahead and zoom in here and we'll zoom into this area over here and you can see that we've got part of the white background still in her hair, and that's the problem with other methods of selection. Well, luckily, we have this great Edge Detection brush, this Refine Radius tool that lets us go ahead and fix this problem. I'm going to make my brush size just a little bit smaller and even though there's no background here where it did get rid of it, I know that that background was white--the same kind of white that's in her hair. So if I just go ahead and start painting over this, it will not only--it's not a Mask Edit tool. It's not saying we'll get rid of this or add it back in. It's a redefine tool. It's basically saying, "Oh, you want me to redefine it based on what you just painted. No problem, I'll do that." So it's basically detecting and recalculating as if that were my original selection to begin with. So I can go around the edges of things like hair and do a better job of getting those things with this tool. And again, this tool is normally chosen by default, but because I picked the zoom tool to zoom in, I had to go back and reselect it. Now, we'll do the same thing on this gentleman over here. We'll go ahead and grab the same tool and work around his hair and we'll just make sure that we're doing a better job of selecting his hair. Now, that's great for the edge. However, you can see that I'm getting a white halo on the top of his head and that's actually the color that was on the background being reflected into his hair and a lot of the times you will get things like that on photographs that are shot against a bright background or color background. You actually get the background reflected into the subject. So how do we take care of that? Well, luckily, we have this new Output module as part of the Refine Edge command that lets me choose Decontaminate Colors, so I can actually go ahead and just drag a slider that will look for the color of the background in the subject around the edge and decontaminate it. Now, last but not least, I also get to output that in various ways, so in this case, I want to output it to a new layer with a new mask based on everything I've done here. So let's go ahead click OK on that. It will go ahead and create that new mask. I can now go ahead turn on my new background and that is my new subject against my new background, perfectly extracted, maintaining the hair, maintaining the detail, maintaining the sharp edges. unlike anything that's ever been done this easy and this fast before inside of Photoshop, so I'm very excited about these new controls. All right, so let's go ahead and close this one and now, let's go ahead and switch back over to Mini Bridge and we'll open up the next document that we're going to work on. And actually, it's in this folder. We'll go into the Content Aware folder, and we've got a couple things we want to do here. We want to go ahead and open up this image, and in this image, we want to do the opposite. Instead of extracting him onto a new layer, we want to remove him from this photo. So we'll go ahead and make a quick selection, and this time, we'll use one that was actually originally done with the Lasso tool, which is very easy to use. We'll just go ahead and make that model selection. We've got just a very liberal selection, even picking up some of the background and now I'm going to do the unthinkable: I'm going to hit the Delete key. When I hit the Delete key, that, of course, would normally in previous versions of Photoshop just fill it with the background color. But now, in CS5, it actually is detecting that you probably want to do something more sophisticated, like Content Aware Fill. So it brings up Content Aware Fill and says, "I can fill this in based on what's the surrounding area." So once I click OK, it starts looking at what's around him, and like magic, saving the hours of cloning, it fills it in perfectly. Now, in this case, let's try it one more time because I know it's hard to believe that. It's just so cool, so easy. Let's load another selection in, and this time, we'll load in the vines. And again, nothing special here. A quick Lasso around the vines, we'll hit the Delete key, bring up Content Aware Fill, click OK and just watch it do its magic. So in about two seconds here, we'll be done. And it is done. Great job. And removing those objects from my wall that I can now use as a background on something else without the people or vines in the way. Now, Content Aware Fill is not just for deleting things or removing things, so let's go back to Mini Bridge and let's take another example, and this is one that I'll probably use more often because I do a lot of photo retouching. Let's say we want to remove objects from the photo, like this line. Now, typically, you might use something like the Healing brush to do that. We love the Healing brush. And I'll switch it back to the way it used to do it in CS4, so I'll grab my Wacom pen here so I can do a nice, good job on this or selection on this, and we'll just go ahead and paint that line right out of the photo here. Now, this is the old way it would have done it, so when I let go, it will calculate, and here's the problem with the old way. It would still leave some areas--especially if it encountered a sharp contrast in the original background or corners or things like that, or edges. I would still have to go in and do some cleanup on that, so let's undo it, and now, using the Healing brush let's turn on the new Content Aware option for the Healing brush. So Content Aware fill or Content Aware technology has also made its way into the Healing brush. So we'll do the same exact thing but with the Content Aware option turned on this time and we'll just go ahead and paint our way out of this and let go. And like magic, we've got it perfectly. We don't have to do any extra work in that particular case. Now, the thing about this tool is I've started using it on things I just didn't think would work at all, and I'm still amazed every time I use it to get rid of things in a photo that I just didn't believe that it would do, and it's just doing a fantastic job here getting rid of these objects. I could do this all day long and it's going to make my retouching a lot faster, a lot easier, and a lot better. All right, so let's go ahead and close this one and let's go back up one more. The next thing we're going to talk about is the new Paint engine inside of Photoshop CS5. Now, the Paint engine is fantastic for artists or graphic designers that are creative and expressive. I'm not a painter. I'm not that creative when it comes to things like this, but I can certainly appreciate what this tool is doing. Now also, to really, really take advantage of this tool, you're going to want a Wacom tablet and pen to work with this tool effectively. This is not a mouse tool. You can do things with the mouse, but to really make it sing, you're going to want a tablet. All right, so I'm going to choose the wet and heavy mix as my preset. I'm going to make sure that I sample all the layers. I'm also painting onto a new layer, so anything I create will be on its own layer all by itself, and I'm going to lower the mix from 100 percent, which was in the preset, to about 50 percent or thereabouts. Great. Close enough. All right, so now, what does this Mixer brush do? Well, in Photoshop--all previous versions-- we really didn't have a way of mixing colors together. We can push colors around; we can smudge them, but the pixels themselves wouldn't really blend like they do now. So for example, if I started dragging through this green paint into the red paint, into the yellow paint, the bristles are picking up those colors and blending them together to create new colors. So that's what the Mixer brush does. Now, of course, we can also use this on a photo, so I can introduce new colors into that photo or I can sample colors that are already in the photo and use those colors to enhance, and again, I'm mixing colors together. Now, again, I'm not going to sit here and pretend that I'm a painter. I'm really not, but I can certainly appreciate what's being done here. So for example, let me show you the end-result, which this was a photo, that if we zoom in on it--that is now original art. This was painted from scratch onto a new layer from the original photo. So this was done by an artist or someone who really knows how to do this stuff and someone who can now do it all inside of Photoshop. So let's go ahead and let's close that there. The next thing we'll do is we'll go ahead now and we'll go onto our next photo. So we'll switch over to Photoshop here and we'll close this, and we'll switch over, back to Mini Bridge and we'll grab our next photo. So in this case, we're now going to switch over to the brand new Repose. Now, this is an Extended feature because now we're going to deal with 3D. So I'm going to go ahead and open up a Photoshop image, and in this particular case, in this Photoshop image, I'll go to my Layers panel and in my Layers panel, I'm going to twirl down the original Objects layer because these were all extruded 3D objects, and what I want to do now is I want to turn the originals on--the flat ones-- and I want to just work on one of them, so I'm going to hold down my Option or Alt key and select just the MOVE one, which will turn on just that one and turn off everything else. We'll also turn on the background so that we have something to work against. We'll switch over to our Move tool and we'll move that up and over just a bit. All right, so now that we've got it moved, the next thing we'll do is we'll go ahead and fire up-- we'll select that layer and we'll fire up the 3D Workspace because we have multiple workspaces now that actually allow you to set up the interface for things you're going to be doing, like painting and photography. There's also one for 3D. And with that object selected, I want to create a new 3D Repose object. Now, even though it was text, it is going to have to rasterize that text in order to create this, so that's happening behind the scenes and it has now brought this up in Repose. So what I want to do here is I want to go ahead and let's turn the switch to that. Okay, so now we're going to go ahead and just show you what's been done so far. So what's been done so far is this object is already extruded. It's already 3-D at this point. Now, the next thing I want to do is I want to go ahead and start working with the presets. We have a ton of control over the 3-D interface now inside of Photoshop CS5 Extended. So we give you presets to choose from; you can experiment with all the crazy presets that are here to kind of experiment what you would get. I like this one, where it kind of bows out the front of the object and now if I turn that on its bottom there, you can actually see the MOVE is extended out. I can, of course, control any of this. I can control the depth of that by just dragging a slider. I can control the angle or the bend just by doing any of this. I can add materials and properties and more lights. I can really work with this, as I would any other 3-D object. So now that I've got this 3-D object--and by the way, we bent it, so let's go ahead and twist that around so we have actually bent the extrusion out-- now that I've got this 3-D object in place, and I don't want to bend it quite that much. Let's bend it about half of that. There we go. And now that we've got this 3-D object in place, we'll just go ahead and click OK and that will return us back to Photoshop, but it's given us a real 3-D object--a real 3-D object that we can go in and work on. By the way, I'll hide all of these extras here so that we can just play with it in the original photo. So at any point, I can twist this around, turn it around, do whatever I want to do with it. I can also get right back to Repose to edit it, so if I have that selected, I can go to Repose in the menu and say Edit in Repose and that would take me right back into the dialog box so I can make any future changes to it. I can add lights to it. I can export it out. I've created a 3-D object inside of Photoshop. This is kind of one of the things, the directions that customers have been wanting us to go in, especially designers that want to create simple 3-D objects without necessarily having to master a 3-D program. Now I'm going to show you--let's pop over to Bridge for a moment. I'm going to show you an example of how this was used to create an animation right inside of Photoshop itself. So I've got the animation here, because Photoshop CS5 Extended also has a Timeline and we can actually animate things over time. So one thing created inside of Photoshop easily, 3-D, animated, exported out as a QuickTime movie and playing back here in the preview module or preview area of Bridge CS5. All right, so with that, let's go ahead and stop that; that'll run forever. The next thing we'll do is we'll go ahead and switch back over to Photoshop, and in this case, we're going to close this one. We'll come back to some more 3-D features in just a moment. And we'll now take a look at--let's go back to our Essentials workspace. We'll take a look at the new Puppet Warp technology. So we'll go ahead and select this folder, we'll open up our photo here, and you might say, "What is Puppet Warp?" Puppet Warp is actually a technology that originated inside of AfterEffects. So we have this 2-dimensional, flat photo that I now want to warp and twist; maybe I want his trunk. It would have been great if I could have photographed it where he was actually eating something. Well, certain things happen in time and you don't always capture the moment the way you wanted it. That's what Photoshop's for, so let's go ahead and choose the Edit menu. We'll choose Puppet Warp, and in this case, it puts a mesh which we have all kinds of controls here at the Control Panel to adjust. So in this case, I want to put points--just by dropping the pin-- where I want things to bend. So I want it to bend there, there, there, there, and there. Those are all the areas that I want to be able to bend, and again, I can put as many of these points down as I want. So I can go ahead and just pick up his trunk now and without doing all that cloning, without having to wait, without having to possibly get eaten, I can go ahead and control this and warp this right inside of Photoshop. Amazing technology. Now, you can take it to the next level if you change the mode. If you go into the mode, you can actually go into something called Distort. Before we go to Distort, I want to point out a couple more things. People always want to know, "Could I have fewer points or more points in a mesh?" Yes, and this will, of course, give you fewer or more control over the object itself. You can also expand the mesh out. You can also not show the mesh, and more importantly, the pins themselves have a stacking order, so maybe you wanted it to behind his leg or in front of his leg so you can control the stacking order of the pin. It's pretty amazing the way that works. Now, let's go back to Distort, and with Distort, now I'm not just moving it, I'm also distorting it. So again, it's bigger when I go that way, smaller when I go that way. I can only imagine what this is going to be used for, by the way. Let's go ahead and we can distort this all kinds of ways now with the new Puppet Warp and Distort. All right, so let's click OK on that. We've got our new object and we'll go ahead and close that. We'll go back and we'll take a look at our next thing, which is for the photographers out there. We'll talk about Adobe Camera Raw, but I like to think of Camera Raw as not just something for photographers. It's also good for designers. So where I'm going to select multiple Raw files here, some of these are .dmgs, one of those looks like a Nikon .NEF file. Camera Raw supports over 200 of the most popular Camera Raw formats and it also works with your TIFFs and JPGs, so it's not just for photographers. All right, so now what do we want to do here? Well, the first thing is we want to go into this particular photo and I want to point out something that's new in Camera Raw 6. You'll notice we've got this little icon or little warning here letting me know, "Hey, you can click this and update the processing to the new 2010 way of doing it." So what does that mean? That means that Camera Raw itself has improved. The engine underneath it has improved to give us better Raw manipulation. So for example, if I click this little button, that will switch it over to the 2010 process and it will make a sharper image based on the new algorithms that CS5 can do in Camera Raw 6 that we couldn't have done before. All right, the next thing I want to do is I want to talk about some effects that we can do in this, so we'll go ahead and just switch over because we can have multiple Camera Raw images open. So I'll switch over to the Noise Photo, and Noise is a common problem when you shoot in low light or at high ISOs and in low light-- high ISO settings on your camera. So in this case, I've got a lot of noise. I've got color noise up the wazoo here, so we're going to go ahead and switch over to this third icon here, this third panel-- for the Detail panel-- and the Detail panel lets me get to the brand new noise reduction algorithms. So we have a great one for color and luminance noise, so when I drag over the color slider, it actually starts to get rid of those various colors that were introduced inside the camera's sensor. Again, this is one of those things, you only drag it over as much as you need to. No sense dragging it all the way over because there's no need to process it that hard. The next thing is the actual noise itself, or the graininess, so I can actually drag over the luminance slider to start to reduce that noise. Now, I'm going to exaggerate it here because we're on a video, and you may not be able to see it once the video is compressed or smaller, but it's amazing the amount of detail we can now do in the noise reduction here and still maintain detail in the photo. So let's go ahead and zoom in on it again and it's great to see a before and after, so if I turn off the preview, that's what we started with. Look at all that noise. And this is what we have now. So a lot of photographers out there saying, "I can't wait to go back to my old photos and do this to them." All right, so this last thing is going to actually take a different approach. First of all, we have a white balance problem, which we'll grab our White Balance tool and just go ahead and fix that. The next thing we want to do is we want to zoom in on this area here and we're going to do the unthinkable:we're going to go our new Effects panel and in the Effects panel, we're actually going to do something that a lot of people don't think to do, and that is add grain or add noise to it, well, "grain," I should call it. Now, why would you ever do this? Well, the reason is you have photographers out there that want their photos to look more like film and less digital. Digital is one of those things where it's almost too perfect, so this allows me to add a film grain back into my photos, but do it a better way than I would have gotten with just noise. So I get control over the size and the roughness and I can control this and get the look and feel that I want for my photos. So those are just a few things in the brand new Camera Raw. We're going to zoom out and take a look at one more before we go, and that is the new post-crop vignetting features. Now, this was in the previous version, but we've added some abilities to it. So for example, you now have three modes; two new ones, Highlight and Color Priority, and the old previous one is called Paint Overlay, so whichever way you like to do it. Now, of course, what vignetting allows me to do is either add vignetting to a photo or move it if the camera lens did it, so I'm going to exaggerate this once again and we now have more control over things like the midpoint, to kind of choose how much of that vignetting we'll see. We also have the roundness control, so if I don't want it to be a perfect oval, I want it to be more of a rectangle or square, I can control the roundness, and I can even now control the feathering, so I can get a very hard edge vignette or a soft vignette, and of course, with Highlight Priority, I control the highlights in my vignette as well. So you get the idea: great new features inside of Camera Raw, and of course, I want to remind you that Camera Raw is not just for photographers. It also works with your JPG and TIFF files, so basically, it works with any camera or just about any image. So we'll cancel out of those settings. Yes, I want to cancel all of the things I just did. It said, "Are you sure you want to get rid of all that work?" and the answer is yes. All right, the next thing we'll do is we'll pop over to another folder, and now this one is again--this is actually a photographer feature and it's been one that's been requested for a long time, and that is professional-level, better HDR support. So I've got several photos selected here and I'm just going to go right in Mini Bridge, grab this little menu here and I'm going to say from Photoshop, I want to merge them into an HDR-pro. So take those multiple images--it's warning me that it would work better if they were Raw, but it doesn't have to be Raw, and it's now processing them-- which is basically taking several exposures that were shot in a bracketed environment and saying, "I'm going to take these--let's see; 1, 2, 3, 4, 5, 6, 7, 8 exposures-- and combine them into one. Now, why would you do this? You notice that this one is really blown out and you know that this one is really dark and we've got everything in between by about 2 stops off. Now, what this allows the photographer to do is to shoot in bracketed mode and then combine those multiple exposures to create a high dynamic range image. That's what HDR stands for. So now that we've got our HDR composited together, we can actually now start to use the sliders to control what it looks like. So we can pump up the gamma or reduce it. We can control the exposure. We can go in and increase the detail. We could do all of these things to create that really rich-looking photo, including working with one of the presets. So I have a preset here that's called More Saturated. When I choose More Saturated, that gives me a more saturated photo, but I just noticed the problem. In this particular photo, the problem is that the wire is ghosting, meaning that even this was probably shot on a tripod, the wire is moving in the wind, so in each exposure down here at the bottom, it was captured at different spots, even on a tripod. So what I can do is use the new Remove Ghost feature in the upper right corner here and that will look at one of those exposures-- and you can pick the one if you don't like the one it picked-- and it will basically use that one as the basis to lock down everything and remove any ghosting, so even if you didn't shoot it on a tripod, this will be a great feature for people that are hand-holding their HDRs. All right, so we got this great HDR image, this new composite. I'm going to hit Escape to get out of it, but you get the idea. Now here's the bigger question: What happens when you get home from a shoot and you look at one photo and you say, "You know what?" "That would have been great as an HDR." You only had the one exposure; you didn't shoot the multiples and there's no way to do HDR unless you have 2 or more photos. So we did the next best thing. Under the Image menu, under Adjustments, there is something called HDR Toning, and HDR Toning is kind of like an effect of HDR without having to have the multiple exposures. So this gives me that crazy, surrealistic look that I want, that all the photographers are going crazy over right now without necessarily having to have multiple exposures to do it. So again, it's not real HDR, but it's the HDR look. I even get the same preset, so I can do the More Saturated thing that we did before or I can play around with the various effects myself and control and get the looks that I'm looking for. All right, so that is just taking a quick look at HDR from a professional level and HDR from a "Hey, I'm just a single-shot guy and this is all I have." "Can I make it look like HDR?" All right, so let's go ahead and close this. Let's go back to Mini Bridge and the next thing we're going to take a look at is we're going to now go back to an Extended feature. We're going to take a look at the rest of the 3-D capabilities. Oh, wait--I've forgotten one. Before we go, there's one more photographer feature. and real quick, we'll just open up this image shot with a fisheye lens and fisheye is a great effect, but sometimes it gives you an undesired effect on certain objects. So we have great lens correction built right in, so I'll go to Filter, Lens Correction; it auto-detects the camera and the lens that shot it from a list of lenses and cameras that we have built in and auto-corrects based on that. And I know what you're thinking: "What if I don't have that camera and that particular lens or those lenses that are listed?" We give you the ability to create your own custom profiles. So even if a lens comes out after CS5, you can go ahead and get that lens and add it in, basically correct one image, save that as your preset, and it would know how to correct future images. So that's it. That's the after, that's the before. It's now automatic and easy based on the most popular common lenses and camera combinations. So let's go ahead and close that. Now let's go ahead and take a look at 3-D inside of Photoshop CS5 Extended. All right, so the next thing we'll do is we'll grab this photo--well actually, before we grab the photo, the next thing we'll do is we'll actually go in and take a look at-- let's go into this folder here. We're in Mini Bridge, and Mini Bridge is actually able to preview these 3-D objects. These are 3-D files, so when I'm in Bridge or maybe Mini Bridge, I can actually preview them and see what they look like. So the next thing we'll do is we'll go ahead and we'll take a look at the original 3-D object here, the original PSD for this ad, and this is a rendered model of a laptop. Now I'll switch back over to my 3-D workspace, and in my 3-D workspace, I'm going to now start adding components to this so we can actually see it better. So for example, we'll go ahead and we'll add in--we'll select that layer and we'll add in--it would help if I'm on the right tool--there we go. We'll go ahead and add in the 3-D ground plane and we'll add in the 3-D axis. All right, so now, of course, we can move this around in the 3-D space and you're probably saying, "Well, couldn't you do that before in Photoshop?" The answer is yes, but now we have a much better, improved retracer for shadowing, for rendering, for basically just more control over this. And really, in many cases, more things that you can do inside of Photoshop CS5 Extended that you could ever do before in the 3-D objects inside of Photoshop CS4. So we've got this all set, and of course, we can move this around in 3-D and it will show us in the 3-D space what this looks like. Now, as soon as I let go, it's going to want to start tracing that again so I can hit the space bar to pause the retracer. I can go up to the 3-D menu and resume the progressive retracer whenever I want so I don't have to wait for it to render just by making a simple movement. All right, so now that we've got this in place, the next thing I want to take a look at are the lights, so we'll go ahead and turn on the lights for this particular object and these lights are here in place, and I can, of course, grab a light tool. I can even move the lights around, rotate them, change them, have them go in and out of a photo--there we go--rotate it around, so as I move the light source, it is actually relighting the object based on that, so you can add your own lights, choose how you want your lights to appear and look so you can control the glossiness and opacity and shininess of how they're going to appear on your object. So lots of control over the lighting of your 3-D objects. You also even have the ability to control things like the materials in your object, so if I go to my materials here, I can choose between some of the presets that are built in. The next thing customers want to know is can they load their own, and yes, you can build your own materials and load them in for how you want to bend and wrap those materials around your objects. You can even go into individual pieces inside of the 3-D object itself. So for example, I can grab the keyboard and we can choose a material for the keyboard itself and it will render that material onto the keyboard of the object. I can diffuse it. I can do all kinds of things to each individual piece, never having this kind of control inside of Photoshop itself without having to actually go out to a traditional 3-D rendering application. So I can go on and on and on about the controls that you have inside of 3-D: the lighting, the mesh, just the controls over the way you look at it, but I think let's go ahead and take a look at the argument or use cases as to why you would do any of this to begin with. So let's close this, and let's go ahead and take a look at Mini Bridge one more time, and let's go to the final ad where this 3-D object was placed and this is what really drives 3-D home. Now, everything in this was done inside of Photoshop, obviously, including the 3-D model, which I still have control over, so if I go to that layer that that 3-D object or 3-D laptop is on, I have the ability to work with that inside of 3-D. There it brings up all my options that we talked about earlier. So we're going to turn off all of these. Now, why do 3-D? Well, this ad of this laptop has got the laptop facing one way. If I needed this laptop to face in various ways in different pieces and different print components or different videos and different things in AfterEffects, I would have to photograph it all of those different ways and know that up front. And also, what if this laptop doesn't even exist yet? A lot of things--a lot of concepts are created as 3-D models before they're actually ever built. So now, inside of Photoshop, I have the ability to reposition this on my ad any way I want, any time I get ready because it's a 3-D model. So as you can see, there is an advantage to working inside of 3-D inside of Photoshop and having the ability to do things like superimposing, like this screen on top of my 3-D model. And that's the only thing--things that Photoshop does very well: lowering the opacity, dropping another photograph on. So working inside of 3-D inside of Photoshop CS5 Extended is a great thing to have for any designer that needs to mock up designs and illustrations for objects that either don't exist yet or you don't want to photograph in all the various ways that you're going to need it. All right, so the next thing we're going to do is we're going to go over to this folder and we're going to grab this image here and we're going to talk about a new thing, and that is CS Review. So we have this web mockup; a lot of web mockups start off as multiple layers inside of Photoshop, but you want to hand it off to someone to review and it hasn't even been put on the web yet. It hasn't even been output yet. So what we can do is we can switch over; under CS Live, we have a brand new set of services. We can go ahead and pull that down. You've got Browser Lab, CS Review, Site Catalyst, Net Averages, Adobe Story, and, of course, acrobat.com, so I'm just going to switch over to my CS Review panel here and we're going to create a new review of this ad right from within Photoshop, Illustrator, or InDesign. Now that I've got this panel up, we'll go ahead and say that we want to create a new review. We'll say that this is going to be the local web with comp, we want to add the current document to this review. And it will ask us how to upload this, quality-wise, and normally, I would choose View Online After Upload, but I'm not going to do that just yet. We'll go ahead and upload this, and what it's doing is it's taking a snapshot of this in time and uploading it my CS Review service on acrobat.com. Now, again, had I told it to take us to it, it would have gone ahead and done that, but I'm going to go ahead and switch over to the browser myself, and there's my new web comps, and the reason I wanted to do it this way is because I wanted to show you where it appears inside of acrobat.com. It appears with all the rest of your files, so it treats it just like a file inside of Acrobat. You have your author here, which is me. You can share it with multiple clients. I'm going to go ahead and take a look at it now, and when I look at this, it actually shows me, of course, the output that it took in that particular time inside of Photoshop. But I even have the ability to zoom in on it, so it's more than just a simple screen shot. There's a lot of technology going on here to render this at various sizes. Now, not only do I get to render it at various sizes, but I also get to add comments to it. I can add a comment to the entire part, so "Looks great." I can say that. I can, of course, go in and add comments to individual areas so we'll go ahead and drag out an area there. "Darker blue please." And we'll save that, and of course, I'm adding comments. I'm the one that did it, but more importantly, it would be better if I shared this with someone, so let's go ahead and share this with an individual. We could also share it and put it in our personal workspace, which is a new feature on acrobat.com, as long as I know that individual's email address, so we'll do Mike. There it is--Mike Wallen, Mike the client-- and it's saying that I'm sharing a file with him and then I can put in my message, "Mike, please take a look at this." So now, once I send this to Mike, which, by the way, it's doing it through Acrobat.com; I don't have to bring up my email program to do that. He will get a link to this web client. He will actually be able to participate in the review and make comments just like I'm doing without having to know anything about Photoshop, without having to have anything about Creative Suite installed on his machine. He just needs a web browser and connection to the internet, and of course, the Flash player. So now, let's go ahead and switch back over to Photoshop and the beauty here is that Photoshop completely integrates with this, so the two comments I made have already been brought down into Photoshop. I can look at them, I can see where those comments were made, and I can now go in and make the corrections and upload a new version of this for further review. I can also go in and choose what I want or if I want to accept the comments or not. So I can say, "You know what? This one is approved; however, yes," or I could say it's rejected or it's a to-do or any of the above. And of course, anything I do here goes right back into CS Review, so if we click on that, it's got the one reply, and there it is approved, yes. So that's a quick look at CS Review. Last but not least, let's go ahead and pop back over to Photoshop. Photoshop not only gets all of the things we saw today, but it also gets lots of little things that will never make their way onto the box shot or onto a brochure because they're "just do it" improvements, the kinds of things that people have been asking for for years and years and years, so I'll show you a couple of them. Just to make things easier, for example, we'll switch over to the Ruler tool and in the Ruler tool, I'll drag out along this edge to straighten this photo. Now, you could have done this before, but you had to figure out how to do it once you drug out the Ruler tool. Now, there's a Straighten button right there. I call it, it straightens my photo. Next, let's go ahead and grab a selection tool--this is one of my favorites-- we'll just go ahead and make a selection, just so I can duplicate that onto its own layer. Now that I have it on its own layer, I want to put a drop-shadow on it. So when I create a drop-shadow--well, there's nothing new about that-- but when I actually bring up the drop-shadow dialog box and we'll pull the shadow out a little bit, we'll go ahead and increase the size of it--well, if this is the kind of shadow I like to do all the time, now, for all of your effects, you have the ability to make that the default. So you could make your own defaults for the shadows, for the glows, for the bevels, and emboss, strokes--all the things that you want instead of having to change them every single time you come in to Photoshop. Last but not least, and there are several of these; I only have a few seconds left, so we'll just hit Command-H. Now, Command-H is a Mac thing, and traditionally in Photoshop, Command-H has always been hide your extras. Well, on the Mac, once OS X came out, Command-H meant Hide the Program, and users have always been saying, "How come you don't do it the way Mac OS X intended you to do it?" And of course, the argument would be that once we change it, then everyone else that is used to it the other way is going to not like it, so now when I hit Command-H, you set your own preference for the way you want it to happen. So lots of little enhancements throughout Photoshop, including 64-bit, more things in 16-bit mode, just all kinds of enhancements along the way. That's my time. I hope you enjoyed it. This is Photoshop CS5, Photoshop CS5 Extended. My name is Terry White. Thanks.
