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M A R C H / A P R I L 2 0 0 8
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LayersCoverMarApr08.indd 1 2/8/08 4:02:01 PM
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Whenever you see this symbol at the end of an article, it means there’s either additional material or a download
for that story at www.layersmagazine.com. So be sure to visit the website and check it out.
'',
Q 9 E B K C D I S
(&S Design Makeover—Jake Widman
(,S Artistic Expressions—Bert Monroy
+*S The Digital Camera—Rick Sammon
.&S The Art of Type—James Felici
Q : ; F 7 H J C ; D J I S
&.S Letter from the Editor
'(S Layers News
)&S The Digital Canvas
),S Photographer Spotlight
'(*S Creative Suite Q&A
Q E D J > ; 9 E L ; H S
This issue’s cover art is by our
very own Associate Designer,
Christy Winter. Turn to page 38
to check out the cover story.
But be warned: it’s hot!
FW][ )&
Q H ; L ? ; M I S
'',S Epson Perfection V500 Photo—Steve Baczewski
''-S Gateway E-295C—Steve Baczewski
''.S Canon imagePROGRAF iPF6100
—Rafael “RC” Concepcion
'(&S Epson MovieMate 72—Steve Baczewski
'(&S BigPicutre 3—David Creamer
'('S Helicon Focus—Laurie Excell
'((S MultiPage 4 for Illustrator—David Creamer
'((S Cintiq 12WX—Corey Barker
Contents_MarApr08.indd 5 2/8/08 11:58:07 AM
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).S 100 Blazing Hot Tips
We’ve gathered some of the top gurus in the industry to share
their most closely guarded secrets in our Third Annual Layers Hot
Tips issue. So if you see smoke pouring out from between the
pages, you better hurry and turn the page before there’s nothing
left but ashes.
| r a o ) u u a |
+&S Best DV Cameras Today!
So you want a video camera now but you’re not sure which one
is right for you. Rod shows you which DV cameras offer the best
bang for the buck.—Rod Harlan
| ) u ) o u ¡ o | s |
+,S Adobe Photoshop Lightroom:
Create Stunning Black-and-White Images
—Chris Orwig
,*S Adobe Photoshop CS3
for Photographers:
Turn Down the Noise—Seán Duggan
,.S Adobe Photoshop CS3
for Designers:
Developing Outlines—Dave Cross
-(S Adobe Illustrator CS3:
Leather Stylin’—Corey Barker
.(S Adobe InDesign CS3:
In Good Form—Terry White
.,S Adobe Acrobat 8 Professional:
Getting into Form, Part 2—Taz Tally
/+S Adobe Dreamweaver CS3:
Adding Flash Files to a Webpage
—Janine Warner
'&&S Adobe Flash CS3 Professional:
Sounding Random—Lee Brimelow
'&*S Adobe After Effects CS3:
It’s Always Raining—Steve Holmes
''&S Adobe CS3 Production Premium:
Mastering Keyboard Shortcuts
—Marcus Geduld
| n o u t ~ / o p u ¡ | z o o e
| v o | . « , n o . z
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Contents_MarApr08.indd 4 2/8/08 11:56:11 AM
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We’re always adding new tutorials to the Layers website,
so be sure to visit often. And don’t forget to sign up for
our graphics tip of the day and read RC’s daily blog, Living
in Layers. Here’s a small sampling of some of the tutorials
that you can find at the site now:
| p~o) os ~op|
www.layersmagazine.com/category/photoshop
Creating Swatches from a Photoshop Document (Video):
Create and save a set of custom swatches from the colors
contained in any Photoshop document.—Dave Cross
HDR Another Way in Photoshop: Find out how to mimic the
very popular HDR technique in Photoshop using only two
exposures. —Mark Fleming
Beauty Retouching with Smart Filters in Photoshop (Video):
Using smart filters to soften the skin of your subject will
help maintain complete flexibility.—Chris Alvanas
| ¡ noa s ¡ qn|
www.layersmagazine.com/category/indesign
Quick InDesign Tips with Scott Kelby (Video): Scott visits
the set of Layers TV to present some of his favorite tips and
tricks for Adobe InDesign.—Scott Kelby
| ¡ | | us ) u o) ou |
www.layersmagazine.com/category/illustrator
Creative Masking Techniques in Illustrator (Video): Create
and control complex clipping and opacity masks in
Illustrator.—Corey Barker
| ou a onwa ov a u |
www.layersmagazine.com/category/dreamweaver
Dreamweaver and Photoshop Integration: These two apps
play very well together. Learn how to use this dynamic duo
to create great-looking websites.—RC Concepcion
Building a Subscribe/Unsubscribe App in PHP with Dream-
weaver CS3: Create your own complete subscribe/unsub-
scribe application.—Joseph Lowery
| | o - a u s ) v |
Hosted by Corey Barker and Rafael “RC” Concepcion
www.layersmagazine.com/tv
Episode 21: Corey breaks down a popular new effect to give life to
your static images, and RC shows how to use masks in Flash.
Episode 20: RC explains how to work with buttons in Flash, and
Corey explores type on a path in Illustrator.
Episode 19: Corey illustrates how to export animations created in
Photoshop CS3 Extended to Flash video, and special guest Dave
Cross shares some cool tips and tricks for Illustrator.
&,
OnTheWeb_MarApr08.indd 2 2/8/08 1:49:24 PM
We know that when it comes to creating, you don’t want anything to stand in your way. Especially technology.
At CDW, our personal account managers can put technology to work for you. We carry a wide variety of product
categories to assist you with creating, collaborating and storing your work. And our account managers can answer
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Create. Collaborate. Execute.
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CDW.com/digitalflow 800.399.4CDW
©2008 CDWCorporation
5745_cdw_Layers_3-1.indd 1 1/21/08 4:28:56 PM
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Welcome to our Third Annual Layers Hot Tips issue. Each year, hands
down, this is our most popular issue, and it’s probably because it appeals to
the inner “tips freak” deep inside us all. I think what makes us so into tips
is that at the end of the day we all want to be faster, more efficient, and
feel like we’re maximizing our time, but beyond that—tips are just fun.
I know that anytime I learn a shortcut or a workaround, or even find out about a feature
I didn’t know was there, I’m always psyched—especially if the tip uncovers an easier way
to do something. Those little gems send me over the top and set my speed dial blazing,
because I feel like I’ve got to call everyone I know and tell ’em about the cool new trick
I just learned. Of course, about half the time I do that, the person I’m calling tells me, “Oh
man, you didn’t know that one!” It doesn’t stop me—I just call the next person on my list.
Another thing I love about tips is that nobody knows them all. This just happened to
me last week, during a taping of Photoshop User TV (the show I host each week with Dave
Cross and Matt Kloskowski). Dave Cross was doing a tutorial in Photoshop and he said he
was going to duplicate his document (I duplicate documents I’m working on numerous
times every day, so nothing new there), but then he said, “I’mgoing to hold the Option key
(PC: Alt key) and choose Duplicate, and by holding Option, it skips opening up the naming
dialog.” I was like, “What? You can skip that annoying dialog? I didn’t know that!”
This exchange happened live on the air, so everyone (including our new nationwide
audience that can now watch “The Photoshop Guys” on Fox Business channel at 1:30 a.m.
EST each week) heard me admit it. I just didn’t know it. I don’t care—I just learned a new
tip that will save me time and aggravation every single day. I love it!
Well, I’m betting that somewhere in our “Blazing Hot Tips” feature you’ll have one of
those “ah-ha” moments, where you learn a new tip that will save you time and frustration,
and make the time you spend in InDesign, Photoshop, After Effects, Illustrator, or any of
Adobe’s products, faster and more fun. Turn to page 38 to see for yourself why this is the
most popular issue of the year.
Also in this issue, DVconfidential.com author Rod Harlan shares his “Editor’s Choice”
awards for the best digital camcorders in five different price categories, ranging from$200
up to more than $3,500. It starts on page 50.
In addition, in our last issue we introduced a new magazine-wide look, where we feature
an artist’s or photographer’s work throughout the entire magazine, giving each issue its
own special look and feel. This issue we’re proud to feature the stunning landscape and
nature photography of photographer Darwin Wiggett.
Of course, all your favorite columns and articles are here as always, but we’re wasting
valuable time here—you could already be learning cool tips (excuse me, “Blazing Hot
Tips”) right this very minute. So turn the page and dive in!
All my best,
Scott Kelby
Editor and Publisher
Editors Note_MarApr08.indd 1 2/8/08 11:07:09 AM
Thin and light, the new Cintiq 12WX gives you the flexibility to work directly on screen
the way you want. Rotate the 12.1” display when working flat on your desktop, stand
it upright or even use it on your lap.
At just 4.4 pounds, the Cintiq 12WX combines a wide-format LCD monitor with
Wacom’s patented, professional pen technology to give you the perfect companion
for your Mac or PC. Add pen-on-screen control to any computer and even use it to
control other displays.
The Cintiq 12WX delivers a highly-sensitive pen-on-screen experience so you can
work directly on your images and applications in the most natural way possible.
For more information, visit:
www.Cintiq.com/LAY
STARTING AT
$
999
A new option for working directly on screen
WACOM_Layers_MarApr2008.indd 1 1/15/08 1:03:04 PM
Untitled-2 1 1/30/08 12:09:52 PM

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www. | ayersmagazl ne. com
All contents © COPYRIGHT 2008 Kelby Media Group, Inc. All rights reserved. Any use
of the contents of this publication without the express written permission of the pub-
lisher is strictly prohibited. Layers magazine is an independent journal not affiliated with
Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Adobe Premiere, After Effects,
Dreamweaver, Flash, GoLive, Illustrator, InDesign, Lightroom, and Photoshop are
either registered trademarks or trademarks of Adobe Systems Incorporated in
the United States and/or other countries. All other trademarks are the property of
their respective owners. Some of the views expressed by contributors may not be the
representative views of the Publisher. ISSN 1554-415X
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Covet design by Cbtisty wintet.
Images couttesy of iîtockpboto.
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Apple CEO Steve Jobs captures a lot of attention when he steps
on stage at Macworld because he’s always holding a brand-new
Apple device. This year was no different, as Jobs was first to unveil
the new MacBook Air, the world’s thinnest laptop. MacBook Air
measures 0.16" at its thinnest point, and 0.76" at its thickest. It fea-
tures a 13.3" LED-backlit widescreen display, a full-size and backlit
keyboard, a built-in iSight video camera, and a spacious trackpad.
Apple also introduced Time Capsule, a backup appliance that
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Softpress announced a public beta program for Freeway 5 that’s
designed to give users an early look at the new generation of this
Web design product.
Famous for its ease of use and efficient, standards-compliant
code generation, Freeway is marketed to professionals and Mac
home users who prefer to focus on design issues rather than coding.
Alongside Freeway’s traditional features (Master Pages, Freeway
Shop, and hundreds of other powerful time-saving features), Freeway 5
has a range of new functionality including: CSS menus, personalized
Blogger templates, a suite of Google Actions to allow you to add
Google content effortlessly, and
a range of dynamic effects such
as fade, blind, pulsate, and more.
Freeway 5 has also added accessibility
provisions, including reports and views
to ensure your target audience gets exactly what they need.
The Freeway 5 beta will be available from the Softpress
website (www.softpress.com) as a 30-day, fully functional
preview. A Web form will be available for feedback and
problem reporting.
automatically and wirelessly backs up everything on one or more Macs
running the Leopard operating system.
Finally, Apple released software updates for the iPod touch and
iPhone that contain new applications for both. Other announcements
included an iTunes movie rental feature, new software for the Apple TV,
and a partnership with Twentieth Century Fox to ship a Digital Copy for
iTunes with every DVD for use with iTunes and Apple video devices. For
more information, visit www.apple.com.
COURTESY OF APPLE
MacBook Air
News_MarApr08.indd 13 2/8/08 12:39:42 PM
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Adobe has released Adobe Photoshop Elements 6 for Macintosh. The
Photoshop Elements software is great for photo enthusiasts who want
to enhance their photos quickly and easily.
New features in Elements 6 include new Photomerge technology
that lets users easily combine the best facial expressions and body
language from a series of shots into a perfect group shot. Also, the
new Quick Selection tool reduces a once time-consuming task to a
single click. Users can choose from one of three edit modes, each
geared toward a different photography experience level. Photoshop
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Elements 6 offers customizable
layouts that let users create
scrapbook pages, photo
books, and greeting cards.
It also includes tools for burning images to CD/DVD for photo sharing.
Adobe Photoshop Elements 6 for Macintosh will run on Leopard
(Mac OS X v10.5) as well as previous versions of Mac OS X starting with
10.4.8. It’s immediately available for preorder at www.adobe.com/go/
buyphotoshop_elements_mac.
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A recent arrival to the marketplace is the new Mac Pro that, according
to Apple, will deliver up to twice the performance of its predecessor
with eight processor cores and a new systemarchitecture. Touted as an
ideal systemfor creative professionals, the new Mac Pro combines two
of Intel’s new 45 nanometer Quad-Core Xeon processors, powerful
new graphics, and up to 4 TB of internal storage.
With support for up to four graphics cards, the new Mac Pro can
drive up to eight 30" displays at once for advanced visualization and
large display walls.
The Mac Pro is easily and conveniently accessible in front and
back, so users can connect external devices with five USB 2 ports,
two FireWire 400, two FireWire 800, optical and analog audio in and out,
dual Gigabit Ethernet ports, and a headphone jack. Visit www.apple.com
for more information.
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GridIron Software used the Macworld platform to present its new
digital content management software, GridIron Flow, which won the
Macworld editors’ “Best of Show 2008” award. Flow automatically
tracks the design process from idea to end result and manages
assets and applications for creative professionals working on graphic
design, Web, and video projects.
Using Real-Time Asset Tracking technology, Flow automatically
builds Workflow Maps for every project by recording all Import/Export,
Save/Save As, and Copy/Paste actions in a project. It understands the
file formats for virtually all creative professional applications, including
those fromApple and Adobe, and maintains the relationships between
stills, movies, sound clips, fonts, plug-ins, and color swatches on all
local, network, and removable storage devices.
Flow will be available this summer for Mac OS X Tiger and Leopard
and for Windows XP and Vista. For more information and to sign up for
the upcoming public beta, visit http://gridironsoftware.com.
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News_MarApr08.indd 12 2/8/08 12:00:44 PM
OWC® Mercury Rack Pro™
4-Bay 1U RackMount
Storage Solution
OWC® Mercury Elite™-AL Pro
FW800/USB2.0/eSATA
Storage Solution
OWC® Mercury On-The-Go™
Bus Powered
Portable Solution
Ideal for applications requiring high data
throughput, availability, and flexibility
in configuration.
Hardware RAID, SoftRaid, JBOD options.
Ultra-protective shock isolation system.
Available with eSATA, FireWire 800/400, and
USB 2.0 interface support.
Up to 32MB data buer with data transfer rates over 150MBs!
Premiere BONUS utility software included. Premiere BONUS utility software included.
FW 800/400/USB2.0 to USB2.0/eSATA solutions.
User customizable congurations.
Fully suitable for audio/video applications.
Up to 4.0TB of performance storage. Rugged, machined aluminum enclosure with super
quiet operation.
Compact 3.5''(W) x 5.5''(D) x 1''(H) size and weighs less
than 11 ounces. Fits in your shirt pocket!
Super quiet operation with shock isolation system.
1.2TB to 4.0TB from $689.99
Visit: www.owcomputing.com or Call: 800.275.4576 Mercury Elite, Mercury On-The-Go , Mercury Rack Pro, and Other World Computing
are trademarks and OWC is a registered trademark of Other World Computing. Other
marks may be the trademark or registered trademark property of their owners. Prices,
specifications, and availability are subject to change without notice.
All Mercury Elite-AL Pro models are ideally
configured for Audio, Video, Digital Photography,
Professional Music, Graphics, General Data and
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PSU_3storage.indd 2 1/21/08 3:00:10 PM
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The Microsoft Corp. Macintosh Busi-
ness Unit (Mac BU) announced the
availability of Microsoft Office 2008
for Mac at the Macworld Confer-
ence & Expo. Microsoft says they
understand that Mac users need the
ability to share their Microsoft Word,
Excel, PowerPoint, and Entourage
documents and they also need a
consistent look to their output on both Macs and PCs. Office 2008 for Mac shares core
technologies with the 2007 Office system to ensure consistency in graphics rendering
when they’re shared. Office 2008 for Mac is also compatible with earlier file formats
so that users can continue to use the older DOC, XLS, and PPT binary formats.
Office 2008 for Mac offers a new user interface. The updated suite keeps the traditional
drop-down menus but adds the new Elements Gallery row of tools in Word, Excel, and
PowerPoint to unlock the power of Office. IT managers also will benefit from new tools for
customized deployment.
For more information, visit. www.microsoft.com/mac.
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Find and share free, original sound effects
and loops
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Online community dedicated to sharing
color palettes
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Tips, tricks, reviews, interviews, and links
for everything Mac and design relatedo[
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For the joy, excitement, and creativity
of infrared photography
DAZ Productions, Inc., developer of professional-quality 3D models and software, has released
the DAZ Studio 3D Bridge for Photoshop plug-in. The new free, feature-rich 3D software package
allows DAZ Studio to add 3D imagery and artwork to any Photoshop project.
With DAZ software, you can pose characters and objects three-dimensionally in DAZ Studio,
and see the results immediately in Photoshop. Users may view 3D scenes as Photoshop layers,
change objects and figures simultaneously, directly render, and import and export image maps
onto 3D models in Photoshop.
The DAZ Studio 3D Bridge is available in both Mac and PC formats and is compatible with
Photoshop 7, CS, CS2, and CS3.
DAZ Studio and the beta version of the DAZ Studio 3D Bridge for Photoshop are currently
available as free downloads at www.daz3d.com.
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Celebrating its 150th anniversary, Berthold Fonts will begin 2008 by adding another 100
OpenType Pro fonts to its OpenType offerings. With this latest release, Berthold now offers in
OpenType Pro format all of the original Berthold BE families, which were part of the Adobe
Type Library version 8. Each of Berthold’s OpenType Pro families include expanded glyph
sets covering Microsoft codepages Western European (1252), Central European (1250), Baltic
(1257), and Turkish (1254).
Among the new OpenType Pro offerings are some of Berthold’s most popular classics, such
as Berthold Bodoni and Berthold Baskerville; Guenter Gerhard Lange’s Berthold Caslon Book,
Bodoni Old Face, Concorde, Concorde Nova, Imago, and Walbaum Book; Gustav Jaeger’s
Catull (the Google logo font); Friedrich Poppl’s Poppl-Pontifex and Poppl-Residenz; Herbert
Post’s Post-Antiqua and Post-Mediaeval; Erik Spiekermann’s LoType; and Christiana and Nofret
from Gudrun Zapf-von Hesse.
For more information about Berthold OpenType Fonts, visit www.bertholdtypes.com.
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News_MarApr08.indd 14 2/8/08 12:01:12 PM
DAZ Studio is a Trademark of DAZ 3D, Inc. Photoshop is a Registered Trademark of Adobe Systems, Inc. View-Master is a registered trademark of Fisher-Price, Inc.
Artwork by: Janek, Cwrw, Bigjobbie, 3dstrike, and Adiene.
Check it out at
www. daz3d. com/3dbridge

EASI LY pose pre-made models three-dimensionally in DAZ Studio,
and see the results immediately in Photoshop! This plug-in is affordable,
compatible with any version of Photoshop CS, and seamlessly
integrates 3D into your 2D workflow.
There’s nothing quite like viewing an image
three-dimensionally because, well, life
is three dimensional.
Layers_DAZ3d_Bridge_pub 1/17/08 12:56 PM Page 1
Untitled-5 1 1/21/08 4:34:39 PM
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Extensis has rolled out the Universal Type Server, its next generation, server-based font-manage-
ment solution for Macintosh and Windows. Universal Type Server is designed to handle all font-
related issues that may arise in font-intensive workflows. According to the company, it provides
an easy-to-use tool for users and a robust, flexible solution for IT administrators.
Features include server and user administration via Web-based applications; Java-based server
with a secure SQL backend; Active Directory integration; support for both Mac and Windows clients
independently or simultaneously; support for mobile users; font license tracking; automated organi-
zation of font libraries via classification, foundry, file type, customkeywords, etc; native support for
Intel- and PPC-based Macs; Font Sense-powered auto-activation plug-ins for Adobe InDesign and
Illustrator CS3/CS2, and XTensions for QuarkXPress 6.5/7.
Universal Type Server will offer three editions: Universal Type Server Lite, Professional, and
Corporate. For information on where to purchase the Universal Type Server family of products, visit
www.typeserver.com.
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Three new plug-ins for Adobe InDesign have recently been released. Zevrix Solutions announced
BatchOutput 3, an update to its professional software that automates output from Adobe
InDesign. BatchOutput automates printing and output of multiple InDesign documents to various
formats using output presets or custom settings. For more information, visit www.zevrix.com.
DTP Tools released its new MIF Filter. This import filter enables users to convert Adobe
FrameMaker documents into InDesign documents. According to the company, MIF Filter offers
new possibilities for an easy migration for companies with legacy documents in FrameMaker
format. MIF Filter 1 is available for download at www.dtptools.com/miffilter.
Slendro Solutions has their own brand of InDesign assistance, the GeometryReporter plug-in
for Adobe InDesign CS, CS2, or CS3. This plug-in generates and displays measurements for any
box within an InDesign document. GeometryReporter is capable of generating intra-box measure-
ments, extra-box measurements, and inter-box gaps, each on their own layer. For more informa-
tion, visit www.slendro.com.
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Oklahoma City, OK (Feb. 27, 2008)
Richmond, VA (March 18, 2008)
Los Angeles, CA (March 25, 2008)
Washington, DC (April 9, 2008)
www.kelbytraining.com
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Phoenix, AZ (February 28, 2008)
Austin, TX (March 26, 2008)
www.kelbytraining.com
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March 14, 2008
Minneapolis Convention Center
Minneapolis, MN
www.kelbytraining.com
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Dallas, TX (March 20, 2008)
Livonia, MI (March 27, 2008)
www.kelbytraining.com
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March 27–29, 2008
Anaheim Convention Center
Anaheim, CA
www.printfest.com
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April 2–4, 2008
Orange County Convention Center
Orlando, FL
www.photoshopworld.com
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April 11–17, 2008
Las Vegas Convention Center
Las Vegas, NV
www.nabshow.com
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April 30–May 3, 2008
San Jose Marriott
San Jose, CA
www.adimconference.com
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Swedish tech company Tonium Laboratories
has released Pacemaker, a pocket-sized DJ
system that the company is hailing as a “first of its kind
product.” Pacemaker is about 6.5" long, weighs about 7 oz,
and is designed to allow people to interact creatively with their music
collection using a portable device.
Pacemaker boasts all the functionality of a full, professional DJ setup. The unit is equipped with
two output channels, two crossfaders, pitch control, equalizer, mix saving, and user input latency. It
can play two tracks simultaneously and the software will work out the BPMs (beats per minute) of
each of the tracks, enabling users to quickly learn to match the beats between two tracks and create
a DJ mix.
Pacemaker works with Macs and PCs and supports all major audio formats, including MP3, WAV,
AAC, OGG, and FLAC files. For more information about Pacemaker, go to www.pacemaker.net.
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THE PACEMAKER TEAM
News_MarApr08.indd 16 2/8/08 1:50:30 PM
www.alienskin.com
© 2007 Alien Skin Software, LLC. All rights reserved. Image Doctor, Alien Skin Software, and the
Alien Skin Software logo are registered trademarks of Alien Skin Software, LLC. All other trademarks
or service marks mentioned are the property of their respective owners. We will never wear suits.
Restore old photos. With Image Doctor, restoring that precious old shot is
a breeze. Select a rip or scratch and Image Doctor heals it.
Retouch new photos. Whether it’s a mole, tattoo, scar or other blemish, Image
Doctor makes photo retouching quick and easy. You can also soften skin with the
click of your mouse.
Remove unwanted objects. Image Doctor’s powerful Smart Fill feature
removes and replaces unwanted objects in your photos with a perfect, seamless
simulation of the immediate background. Get rid of anyone or anything from
old Uncle Joe to a piece of trash in your otherwise beautiful foreground.
Repair low-quality JPEG images. Use Image Doctor’s JPEG Repair to fix
blocky areas and ragged edges in over-compressed JPEG images. Select an area
for repair or use it on your entire photo.
So powerful, so easy to use. Order Image Doctor today and find out why
people rave about its power, sophistication, and ease of use.
Visit www.alienskin.com for more info.
RESTORE. RETOUCH. REMOVE. REPAIR.
NO ONE DOES IT BETTER THAN
IMAGE DOCTOR
®
2.
Everyone loves the perfect photo. That’s also
why everyone loves Image Doctor 2, the
powerful Photoshop
®
plug-in from Alien Skin
Software. Image Doctor’s unique software
algorithms can save what would be the perfect
photo from the trash bin while saving you hour
upon hour of Photoshop work trying to fix it.
AlienSkin_IDoc2_PSU_Layers.indd 1 11/1/07 10:45:33 AM
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Of all the photography industry’s annual events, the PMA Interna-
tional Convention and Trade Show is the biggest. Photo equipment
manufacturers always have at least one big announcement for
the show floor at PMA, and this year was no exception as Canon,
Nikon, Sony, Pentax, and many others did their best to capture
attention by introducing new products.
Canon U.S.A., Inc. rolled out the new 12.2-megapixel EOS
Rebel XSi digital SLR, incorporating many of the high-end functions
found in Canon’s professional SLR models, such as an improved
autofocus sensor, enhanced 14-bit A/D conversion, an advanced
Live View function, and the proprietary DIGIC III image processor.
The new model is expected to ship in April for $800, and in a
lens kit version which will include the EF-S 18–55mm f/3.5–5.6 IS
zoom lens for $900. Canon also announced two new lenses: the
EF200mm f/2L IS USM and the EF800mm f/5.6L IS USM. Stop by
www.usa.canon.com/home for more information.
Nikon Inc. introduced its new D60 digital SLR camera, featuring
Nikon’s 10.2-megapixel CCD sensor and 3-D Color Matrix Meter-
ing II. The D60 offers new in-camera editing capabilities, includ-
ing adjustable cross-screen star effects, color-intensifying filters,
D-lighting, red-eye correction, Image Trim, and more.
The D60 will be packaged with the 3x zoom AF-S DX NIKKOR
18–55mm f/3.5–5.6G VR lens and will be available in February
2008. In addition to the D60, Nikon also announced the AF-S DX
16–85mm f/3.5–5.6 ED VR, AF-S Micro 60mm f/2.8G ED, and PC-E
24mm f/3.5D ED tilt/shift lenses. Check out all of Nikon’s products
at www.nikonusa.com.
PENTAX Imaging Company jumped into the mix by introducing
two new digital SLR cameras: the K20D and K200D. The 14.6-mega-
pixel K20D allows experienced photographers the ability to fully
customize the camera. The K20D’s features include noise-reduction
technology, CustomImage functions, Live View to confirmcomposition,
a Dust Alert function, and a PC sync socket for use with studio lighting.
While PENTAX tailored the K20D for the more high-end users,
the K200D is designed for users who may be unfamiliar with digital
SLRs but want a camera that will allow them to grow as they learn
about photography. With 10.2 megapixels and a 2.7" wide-view
LCD, this model features many of the advancements of the PENTAX
Series, including Auto Picture and Scene modes, as well as Custom
Image functions.
PENTAX also announced five new lens models. Each new lens
features a Quick-shift Focus System for instant switching from auto-
focus to manual, and the PENTAX SP coating to protect the exposed
lens elements fromgrease and dust. Visit www.pentaximaging.comto
read about all of the new PENTAX products.
Meanwhile, Sony is bringing live-viewshooting to its newdigital SLR
camera line. The company displayed its 14.2-megapixel DSLR-A350 and
10.2-megapixel DSLR-A300 cameras. They offer Sony’s new Quick AF
Live View technology so users can frame photos on the camera’s LCD
without sacrificing autofocusing speed. Sony’s innovative Pentamirror
Tilt mechanism directs light to a dedicated live-view image sensor,
enabling fast and responsive TTL phase-detection autofocusing,
even during live view.
The DSLR-A300 kit with a DT 18–70mm f/3.5–5.6 standard zoom
lens will ship in April for about $800. The DSLR-A350 camera body will
be available in March for about $800, and the DSLR-A350 kit with a DT
18–70mm f/3.5–5.6 3.9x zoom lens will be available for about $900 at
the same time. Both models will be available at www.sonystyle.com.
Sony also announced the 70–300mm f/4.5–5.6 G and Zeiss T*
24–70mm f/2.8 lenses.
Sigma Corporation of America had its own group of new products
to show off at PMA, with eight new lenses. For more information on any
of the Sigma products, visit www.sigmaphoto.com.
News_MarApr08.indd 18 2/8/08 12:02:00 PM
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y goal for the Gravnetic website was structuring the content in
a way that would come across as approachable, professional,
and creative, while finding a balanced mix of structural elements and
visual consistency. Lack of consistency was foremost among the many
ways I thought their current website falls short.
For the homepage, I wanted to keep the video area the main
focus so I decided that giving access to five videos at a time was an
ideal way to keep the user interested but wanting more. I added a little
News section to help give the homepage a fresh feel and provide a
reason for people to come back for updated information.
For the overall look of the site, my inspiration was to mix technology
with the outdoors. I chose a subtle, natural color scheme and tried
to mimic a pixelated forest treeline in the header. I really resisted
getting too creative with background graphics and headers—I felt
that their content was the creative element and that it should have a
neutral stage to perform on.
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In late 2006 while working at 7-Eleven, Tyler Thompson found himself alone one night shift. While
stocking the hot dogs, the layout of the packaging grabbed him, and he thought, “I can do better than
this!” And so began a love story, a love story set in a world where hard drives are huge and floppy
drives don’t exist.
In addition to campaigns for Safeway, Redhook, and others, Thompson has created a logo for his
cousin’s softball team, a flyer for a rave, and two menus for a highly successful Mexican restaurant in town. Tyler would like
to take this opportunity to thank his amazing wife, Amanda, for all of her support during his long, long nights behind the
computer, and his son, Scout, for all his cool coyote sounds.
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I added the ability to share any video or picture to help people
spread the word for Gravnetic. I chose to tie the headlines in to
the header graphic by using a pixel font (Frucade Small Extended
from Semplice), while the navigation and video player font (Interstate
Bold Condensed) was chosen for its bold, compact form. I cleaned up
Gravnetic’s logo by setting it in a sleek, modern font that I manipu-
lated only slightly. I wanted the logo to be simple and strong, yet plain
enough that they could impose it on their other work without it taking
away from what they were applying it to.
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ravnetic provides multimedia content of all sorts, fromstream-
ing Flash videos for the Web to broadcast graphics for local
TV stations to DVD material. Owner Jake Hawkes says he came up with
the name by combining the words “magnetic” and “gravity”—the latter
reflecting the fact that the Idaho-based company is frequently called
upon to work with material involving skiing and mountain biking.
The biggest problem with the current website, says Hawkes, “is
that I have two homepages—the initial one with the movie marquee,
and then the Flash Video page.” The bare URL takes a visitor to the
first page, even though the second page has all the navigation links
on it and is even named “Home.” Not only that, the two pages don’t
look anything alike; there isn’t even a consistent logo treatment tying
themtogether. Ideally, Hawkes says, the first page would be a simple
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Jake Widman is a writer and editor who lives in San Francisco. He’s been covering the intersection of computers and graphic design for about 20 years now—since back
when it was all called “desktop publishing.”
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We’re looking for product packaging or labels, print advertisements, and magazine covers that are currently in the marketplace for future
“Design Makeovers.” So if you or someone you know has a design that you’d like us to consider making over, or if you’re a designer and
you’d like to be considered for a future “Design Makeover,” drop us a line at letters@layersmagazine.com.
cfgpsf!
gateway that offers clear access to the other main areas of the site,
although he wouldn’t mind visitors having direct access to the video
player on the front page.
Overall, he’d like his site to look fun, colorful, and creative. Hawkes
cites the well-known series of Sony Bravia commercials as examples
of the combination of fun and creativity he admires. Another goal is for
the website to encourage distribution, so that some of his videos could
get viral exposure. He’d like there to be some kind of “call to action”
after you look at his stuff—if people see something they like, they
should be able to do something with it. “Perceive it however you will,”
he says, “but then share it.” We asked three designers to take on the
complicated task of providing consistency, creativity, and action in the
same makeover.
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Berthold.indd 1 2/1/08 3:17:55 PM
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ith the client’s personal background and preferences in mind,
I opened Photoshop with a newfound vigor. I planned to keep
some of the organizational and design choices; however, the lack of
consistency and identity were the major items I wanted to change
and enhance.
I began by using more modern design elements, adding gradients,
bold colors, and glossy highlights to the first page. With the client’s wish
for activity and the history of the Gravnetic name, I used a more traditional
approach and gave the layout a mountainous landscape background.
I kept the magnet because it’s the client’s best representation of what
his site is about. I manipulated it, however, and used it as the n of the
logo to create a feeling of simplicity and boldness. I reproduced the new
logo on the front page to add stronger identity and more uniformity.
The selection of Lucida Sans Unicode and Myriad Pro as the fonts for
the section titles and logo, respectively, adds an aura of professionalism.
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A Web designer for two and a half years, the 15-year-old Taylor Zimmerman is a sophomore in high school
in Tennessee. While attending high school, he has created assorted graphics for his school and its many
clubs. His work has also been featured in the Tennessee Art League.
Because his father was a member of the Armed Forces for 20 years, Taylor has lived in numerous places
around the world. He began Web designing in 2005 and created his website, Xpdesigns, shortly after.
Taylor enjoys hanging out with his friends, freelance PHP and MySQL programming, and jamming to his favorite alter-
native rock band. He plans on attending the Art Institute of Chicago to obtain a degree in Audio Production, Graphic
Design, and Interactive Media.
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continued on p. 24
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Moving on to the video page, I focused on interactivity and simplicity.
I converted each text-titled video to a simple glossy button organized
on the right-hand side. To achieve a more distributive website, I included
interactive sections to enable video exchange. I created an alternative
video player with a more user-friendly interface and one that conformed
to the sleek and traditional design of the layout.
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DesignMakeover_MarApr08.indd 3 2/8/08 1:05:24 PM
SF_AD_alien_Layers_1007F.indd 1 11/5/07 3:06:48 PM
025.indd 1 2/1/08 3:18:56 PM
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he immediate need for the Gravnetic website was quite clear
from the beginning: there was no continuity. The splash page
was designed as a flashy theatre marquee, but the subsequent pages
made you feel as if you were leaving the site altogether. Not only do
they not look like the opening page, but they contain links to pages
(Promo Reel, About, Contact) that aren’t even mentioned on the
splash page.
I started by tackling the splash page. Unless your site is product-
focused and your homepage is introducing a product, an image-based
splash page isn’t a great idea. I wanted the homepage to present basic
information on all of Gravnetic’s services, as well as give an idea of what
can be expected on the rest of the site. Each content area is clearly
defined and has a clear heading as to what belongs to that section.
I included samples of photography, direct links to videos, and a list
of services, and gave each listed service an identifying icon.
On the subsequent pages, clear content areas with clear headings
again give users a very clear and concise method of accessing the
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John McCann, 27, works at VanKomen Media (www.vankomenmedia.com), an online marketing firm based
in Draper, Utah. VanKomen provides marketing services such as list management, media buying, and
campaign management.
Before VanKomen, McCann worked on websites for companies doing business with HBO and the Dis-
covery Channel. He has also worked on projects involving corporate customer relationship management
and content management system design, as well as on sites designed to sell children’s toys.
McCann moved to Utah with his wife when she was in the Air Force; he says, “We absolutely love it. We used to live in
Florida, so my four children, Ian, Ashton, Kyleigh, and Shealeigh, had never seen snow. They’re having the time of their lives.”
7FFB?97J?EDIKI;:0 Adobe Photoshop CS3 and Adobe Illustrator CS3
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content. And I reinforced each service page with the icon used for that
service on the front page, so it’s very clear to viewers where they are on
the site. I used Penumbra HalfSerif Std for the logo and section headings
and various weights of Myriad Pro for everything else.
The overall look is based on the original theater theme. In the final
product, the marquee and lights around it are animated to bring the site
to life, but not too much to take away fromthe content. It’s important to
remember that the content is what’s important, not so much the design.
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STEP TWO: Now if you study the veins on the leaf, you’ll notice
that they break up the box into two columns, each with four rows.
Armed with that information, choose Create Gradient Mesh from
the Object menu. In the dialog that pops up, enter the parameters
established by our observation of the leaf, and click OK.
STEP THREE: Using the Direct Selection tool (A), move the center
anchor points of the mesh to intersect the joints where the six hori-
zontal veins branch off from the main central vein. Also, move the
anchor points on the outer edges and adjust their handles so the
mesh matches the shape of the veins.
STEP FOUR: Add new grid lines above and below the horizontal
veins and to the left and right of the central vein. To add new grid
lines, click with the Mesh tool (U) anywhere within the grid. This
will create both a vertical and horizontal grid line that intersect at
the point where you click. These new grid lines will automatically
follow the flow and direction of the existing grid lines that border on
either side of them. (Note: Once you create one of the new vertical
grid lines for the central vein, click directly on that line when adding
horizontal grid lines. Otherwise, you’ll add additional vertical lines
that you don’t need.) We need to alter these new grid lines also:
Using the Direct Selection tool, move them and adjust their handles
to start forming a shape within the leaf where the colors will flow.
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The beauty of the gradient mesh is that colors can be added that will
fade into any other colors that exist within the mesh. To add colors to
the mesh, simply select anchor points in the mesh and then choose a
color. The color will automatically fill the area around the anchor point
and fade into whatever color is assigned to the next anchor point in
the mesh. Note: Any alteration to the shape of the mesh will alter the
shape of the color and how it fades into neighboring colors. Let’s try it
with our leaf:
STEP FIVE: In the middle layer with our leaf color, use the Direct
Selection tool to select all the points that travel through the original
grid lines that are directly on top of the veins (add the Shift key for
multiple selections). Once all the points are selected, choose a dark
brown color to fill those points. Notice that the color falls behind
the veins because the veins are in a layer above the layer where
the mesh is contained.
Bert'sCorner_MarApr08.indd 3 2/8/08 5:30:56 PM
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You’re probably thinking this is some new ecological
way of using Adobe Illustrator. Sorry! The only way
to do that is to use energy-saving bulbs to light your
work area. What we’ll show you, however, is how to
use the Mesh tool to simulate nature’s way of colorizing things—in this
case, a fallen leaf.
Here’s a fairly flat-looking maple leaf made from two layers: The
bottom layer contains the leaf and the layer at top contains the veins.
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What the leaf needs is some color to make it look more dimensional
and natural and this is where the gradient mesh comes in.
STEP ONE: First, we’ll create a new blank layer between the two
existing layers. In this new layer, we’ll generate a box that has the
same fill color as the leaf and covers the complete shape of the leaf.
This layer is where we’ll create the gradient mesh and add the colors.
Click on the Toggles Lock box (to the left of the layer name) of
the other two layers that contain the basic elements of the leaf.
This is important because we’ll be doing a lot of clicking to create
the mesh, and locking the layers will prevent them from acciden-
tally being selected and altered.
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Bert'sCorner_MarApr08.indd 2 2/8/08 12:25:17 PM
The world’s most
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A genuine work of art is the unique expression of the artist’s
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is one of a kind.
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stunning paintings. Featuring the new RealBristle™ system that
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an array of art materials and textures that mirror the look and feel
of their traditional counterparts, Painter offers unlimited creative
freedom. The result? An original work of art, every time.
Visit www.corel.com/layers to experience Painter X and download
your trial today. free 30-day
Created with Painter. Made by hand.
Caribbean Romance by Maura Dutra
Untitled-4 1 1/21/08 4:30:51 PM
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Bert Monroy is considered one of the pioneers of digital art. His work has been seen in many magazines and scores of books. He has served on the faculty of many well-known institutions,
written many books, and appeared on hundreds of TV shows around the world.
STEP SIX: Click on the vertical lines to either side of the central vein
to add two new horizontal grid lines that fall in the center between
the horizontal veins. Add two new vertical grid lines to the left and
right of the existing vertical grid lines. These new vertical lines will
serve as the stopping point for the colors that are about to be added
to the newly created horizontal lines. Select the four points on the
two new horizontal lines where they intersect the vertical grid lines
on either side of the center vein in the leaf. For our example, we
added a pink tone to those points.
STEP SEVEN: Select the points at each juncture where the veins
branch out and add a green color to these points. Finally, adjust
the various outside points that border the dark brown tones, which
allows you to spread the browns and vary their effect over the leaf.
Now that the color is complete, place the middle layer with the
colored box behind the layer with the leaf. Unlock the leaf layer,
and then clip the two layers to form a mask (Object>Clipping
Mask>Make). And here’s our more natural-looking leaf.
The Mesh tool is a wonderful way of playing with color! Couple it with
a little solar power and it’s a very environmentally friendly tool. !
[ ]
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D P S F Z ! | ~ ! C B S L F S
º As Bert mentioned in Step Four, you can add addi-
tional horizontal and vertical grid lines to the gradi-
ent mesh by clicking in an empty area with the Mesh
tool. You can also click directly on a vertical grid line
to create a new horizontal grid line and vice versa.
Now if you add an anchor point that you didn’t
mean to, hold down the Option (PC: Alt) key and
hover over a grid line. When the cursor changes to
a minus sign (–), simply click on the undesired grid
line to remove it.
º Now ler's soy you've edired oll r|e individuol poinrs
with varying colors and when you look at the finished
graphic, you decide you’d like to see other color
variations. Well, you could go and select each indi-
vidual point and change the color if you had all the
time in the world. However, since most of us don’t
have that luxury, we can simply select the object
with the Selection tool and click on the Recolor
Artwork icon in the Control panel. In the Live Color
dialog, make sure the Recolor Art box is checked on
at the bottom. Then click the pop-up menu at the
top left to access the various Harmony Rules and
experiment with different combinations.
Bert'sCorner_MarApr08.indd 4 2/8/08 12:26:08 PM
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The staff at Layers magazine appreciates the time and effort involved in the creative process, no matter how large or small the
project. With this in mind, we offer you the opportunity to display your work on The Digital Canvas. Please submit your print, Web,
or packaging design (jpeg or eps format) to: cmain@layersmagazine.com. Please include name of piece, client name (if applicable),
applications used, and any website where our readers can view more of your work.
Digital Illustration: EMD Chemicals Catalog Cover ] [ Client: EMD Chemicals ] [ Designers: Brandon Morton and Bill Perry ] [ Software: Adobe Photoshop CS
and Adobe Illustrator CS
Digital Illustration: PS I Love You, Chapter One ] [ Personal Work
Designer: Bethany Spencer ] [ Software: Adobe Photoshop CS3
Website: www.totallyunprofessional.com
Digital Illustration: The Burden of Beauty ] [ Personal Work
Designer: Bethany Spencer ] [ Software: Adobe Photoshop CS3
Website: www.totallyunprofessional.com
DigitalCanvas_MarApr08.indd 2 2/8/08 12:27:38 PM
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T I P X D B T J O H ! U I F ! E F T J H O ! X P S L ! P G ! P V S ! S F B E F S T
Digital Illustration: Oscar’s Victory
] [ Personal Work
] [ Designer: Eduardo de la Cruz
] [ Software: Adobe Illustrator CS and
Adobe Photoshop CS
] [ Website: www.jondo.com/eduardo
Digital Illustration: Moonrise
] [ Personal Work
] [ Designers: Len and Joan Weinstock
] [ Software: Adobe Photoshop CS3
] [ Website: www.pbase.com/lenw
Digital Illustration: Atardecer
] [ Personal Work
] [ Designer: Eduardo de la Cruz
] [ Software: Adobe Illustrator CS and
Adobe Photoshop CS
] [ Website: www.jondo.com/eduardo
Q ] W b b [ h o S
DigitalCanvas_MarApr08.indd 1 2/8/08 5:33:09 PM
All images by Darwin Wiggett.
Layers: Your style clearly demonstrates a great deal of diversity.
Do you have a type of photography you enjoy doing most?
Wiggett: I think landscape photography is my number one passion
but I don’t do any photography that I don’t enjoy. I tried to do assign-
ments and to photograph things that stock agencies and ad houses
wanted, but working on someone else’s vision left me flat. Photogra-
phy is very personal and I do it for myself only. I’m lucky I can make a
living off my hedonism….
Layers: Do you shoot film, digital, or both? What equipment do you
use most?
Wiggett: In the last three years I have been completely digital, mostly
because the buyers of my photography demand digital delivery and
digital quality. I use top-end Canons and currently am using a Canon
EOS-1Ds Mark III.
Layers: Do you have a favorite lens you use most? If so, why is it
your favorite?
Wiggett: My most-used lens is my Canon 24mm TS-E (tilt and shift)
lens. This lens gives me infinite depth-of-field to create landscapes
that are tack sharp from inches in front of the lens to infinity. If I could
own only one lens, this would be the one.
P8DCI68IR9Vgl^cL^\\Ziilll#YVgl^cl^\\Zii#Xdb
Layers: For every image that nails the mark, how many do you toss
on average?
Wiggett: I am a ruthless editor of my work. I keep about 10% of every-
thing I shoot. Only the cream is worth keeping, especially in this age of
digital when photographers are saddled with the huge task of postpro-
cessing. My time is limited; I won’t waste it on second-class images that
will never be published.
Layers: Do you do photography full-time or on the side? If full-time,
how do you make a living with it?
Wiggett: I do this full-time and sell my images mostly through stock
agencies. I also teach and write about photography and have numerous
photography books that generate royalties. I also collect pop bottles on
the side of the road and have a newspaper route.
Layers: Is there any advice you would pass on to budding photog-
raphers who have a passion for it but are afraid to jump into the
deep end?
Wiggett: Photography is less about talent and more about marketing
and persistence. It’s about a burning passion to create that can’t be
turned off because of practical matters like starvation! Passion will
give you persistence to persevere; marketing savvy will help you pay
the bills. Shoot what you love and don’t compromise—your work will
be better for it.
DesignSpot_Mar08.indd 35 2/8/08 11:11:24 AM
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Layers: How did you get your start as a photographer? Did you go the school,
mentor, or self-education route?
Wiggett:I was working on my master’s thesis in zoology at the University of Alberta
and found that a career as a wildlife biologist was not what I had envisioned it would
be. I was spending about eight months in the office writing papers and proposals and
grant requests and only spending four months in the field per year. I wanted a way
to spend more of my time out in nature. I read a book by Freeman Patterson (www
.freemanpatterson.com), Photography of Natural Things, and that book changed
my life. I bought a camera and started documenting the world around me. I became
addicted to making photos. That was 1986 and I’m still addicted to photography.
Everything I know about photography is from doing it. I have no formal training.
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photographs what he loves: nature, animals, and kids. He’s best known for his
dramatic light landscape photos and he’s constantly searching for the ephemeral magic that nature occasionally tosses his way. Darwin concentrates
his efforts in capturing his home country of Canada. When photographing kids and dogs, he does it with an eye to humor and sense of story. He
prefers spontaneity and off-the-cuff shooting as opposed to posed work. He also teaches photography in seminars, photo tours, courses, and
workshops. Darwin is a regular columnist and contributor to Outdoor Photography Canada magazine and various other publications, such as
photo books.
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DesignSpot_Mar08.indd 34 2/8/08 11:11:01 AM
Work smarter in Solo mode
You can waste a lot of time in Lightroom
scrolling up and down through all the open
panels. That’s why I recommend turning
on Solo mode. That way, only the panel
you click on is displayed, and the rest are
collapsed and out of the way. To turn this
feature on, Control-click (PC: Right-click)
on the panel header for any panel, then
choose Solo Mode from the pop-up menu.
See a quick before/after
When you’re working in the Develop module
and you want to see a quick before/after of
your photo, just press the Backslash key and
it displays the before photo. Press it again
to see the after image. (The word “Before”
appears in the bottom-right corner of the
image so you know at a glance which one
you’re looking at.)
Customizing your panel end mark
There’s a little flourish graphic at the bottom
of every column of panels to let you know
you’ve reached the last panel. Luckily,
you’re not stuck with that antique-looking
graphic—you can choose from a number
of built-in end marks by Control-clicking
(PC: Right-clicking) on the end mark itself.
From the pop-up menu that appears, go
under Panel End Mark and choose a differ-
ent end mark from the list, or add your own
custom mark by placing a PNG graphic in
the End Marks Folder (choose Go to Panel
End Marks Folder from that same pop-up
menu, and drop your graphic in there).
Cooler Flash Web galleries
In the recent free Lightroom 1.3 update,
Adobe snuck in some really cool Flash-based
Web gallery templates that most folks don’t
realize are there. In the Web module, look at
the top of the Gallery panel and you’ll see
three new Flash galleries: Airtight AutoViewer,
PostcardViewer, and SimpleViewer. They’re
very slick, and totally automated.
Great sharpening for portraits
and landscapes
In the Lightroom 1.1 update, Adobe added
pro-quality sharpening and some very cool
sharpening presets that take advantage of
the new features, including two you should
try out. They’re in the Develop module’s
Presets panel, under the Lightroom Presets
section, and they’re called Sharpen – Land-
scapes and Sharpen – Portraits.
A better view when cropping
For the ultimate view when cropping a
photo, click on the Crop Overlay tool in the
Toolbar, then press L twice. This turns on
Lights Out mode, and your image appears
centered onscreen on a black background.
But here’s the cool thing: Your crop border
is still in place, and when you grab a corner
and start dragging, you see a live preview
of the final image (try it and you’ll see what
I mean). When you’re done, press L once
more to return to normal view.
The trick to deleting
multiple photos
When you’re in the Develop module, if you
select a number of photos in the Filmstrip
and press the Delete (PC: Backspace) key,
it only removes the first selected photo.
To delete more than one photo at a time,
simply press G to return to Grid view in the
Library module, then you can delete all the
selected images at once.
Temporarily hiding the Toolbar
You know that Toolbar that appears below
your photos? If you want to get it out of the
way for a second or two, hold the letter T
on your keyboard, and as long as you hold
T, that Toolbar stays hidden. Release T and
it comes right back.
Printing on color backgrounds
There’s no control for changing the
background color of a page printed from
Lightroom—it’s always white. But there’s a
workaround: In Photoshop, create a docu-
ment in the same size and resolution you
want to print on (such as a letter-sized
document at 240 ppi). Then, fill your Back-
ground layer with whatever color you want
your photos to print over. Now save your
file as a JPEG, and then in Lightroom, in
the Print module, in the Overlays panel,
import that image as an Identity Plate.
Then set the Scale to 100% and turn on
the checkbox for Render Behind Image.
Turning off the effect of a
Develop panel adjustment
All of the panels in the Develop module
(except the Basic panel) let you turn off the
effect of that panel (e.g., you can turn off the
Tone Curve to see your image before the Tone
Curve was applied). To turn off the adjustments
made in any of these panels, just click the On/
Off switch to the left of the panel header.
9pJZfkkB\cYp
FeatureHotTips_MarApr08.indd 39 2/8/08 12:21:03 PM
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arning: Contents are extremely hot! Please approach with great caution.
Publisher not responsible for any damages caused by overexposure to
blazing hot tips or to injuries caused by overexcitement or intense giddiness that may occur due
to learning tips that will save tons of time and aggravation in the future. If intense feelings of joy
persist for longer than four hours, consult your doctor immediately. Those with weak hearts and
bad backs should avoid these tips at all costs.
Now that we have the legal issues out of the way, welcome to the Third Annual Layers 100
Blazing Hot Tips issue, where gurus from around the world (and around our office) have gathered
together to share their most closely guarded secrets. We have to admit, this group was very
forthcoming with their tips this year—we didn’t have to resort to our usual tactics of dark rooms,
starvation, or jumper cables. They did draw the line, however, when we asked them to pose
for our Layers Hot Tips Hunks Calendar. Oh well, we guess the
tips will just have to be enough.
FeatureHotTips_MarApr08.indd 38 2/8/08 12:20:25 PM
Pen selections
If you like the accuracy of drawing with
the Pen tool (P), but the flexibility of work-
ing with a selection, then check this out.
When you draw a path with the Pen tool,
you can turn it into a selection by pressing
Command-Return (PC: Ctrl-Enter). Your path
will still be in the Paths panel but you’ll also
have a selection.
Mergin’ copies
Let’s say you have a graphic you want to
copy-and-paste into another document but
your graphic is made up of several layers.
No sweat. Just make a selection around the
graphic and choose Edit>Copy Merged.
Photoshop will copy everything inside of the
selection regardless of which layer is selected.
Then just paste it into the new document.
Goin’ global
Layer styles are awesome. Just don’t forget
that, by default, the Use Global Light setting
is turned on. So if you adjust the lighting in
one layer style, all layer styles on all layers
will change. If that’s not what you want, then
turn off the Use Global Light setting for the
layer styles that you don’t want to change.
Quick text control
When you’re working with text in Photoshop,
remember that many of the major settings
have keyboard shortcuts. For example:
º To increose/decreose r|e size ol your rexr,
press Shift-Command (PC: Shift-Ctrl) and
r|e >/< |ey. T|row in r|e Òprion (FC:
Alr) |ey ro increose/decreose 6y o lorqer
amount each time.
º To increose/decreose r|e spocinq
between each letter in the text (a.k.a.
|erninq), press Òprion-Riq|r/Lelr Arrow
(FC: Alr-Riq|r/Lelr Arrow). T|row in r|e
Command (PC: Ctrl) key to do it by a
larger amount.
º W|en edirinq rexr, you con |ump r|e
cursor to the beginning or end of a line
6y pressinq Commond-Up/Down Arrow
(FC: Crrl-Up/Down Arrow), respecrively.
Form a group
If you haven’t tried out layer groups yet,
then you have to for two reasons: (1)
Groups help make sense out of your Layers
panel, and (2) they help you move similar
layers around without having to always
select all the layers. Just select the layers
you want
to group
and press
Command-G
(PC: Ctrl-G)
to place
them into a
little folder.
Quick switch
Every time I teach Photoshop, someone
asks what the keyboard shortcut is for
quickly switching between open applica-
rions. Òn r|e Moc, |old r|e Commond |ey
(PC: Alt key) and press Tab. You’ll see a
pop-up window showing all open appli-
cations. Just keep pressing Tab until the
application you want is highlighted.
Reselection time
Ever mo|e o selecrion, deselecr, ond reolize
later that you needed the selection back but
didn’t save it? You could undo and hope
there are enough undo states to get back
to your selection, but try this first: Go under
the Select menu and choose Reselect. It will
6rinq 6oc| r|e losr selecrion. Dependinq on
what you’ve done in Photoshop since you
originally made the selection, Reselect may
not be an option, but it’s worth a try.
Shape constraints
Don'r wresrle oround wir| your rexr rryinq
to get it to appear as if it’s constrained by a
particular shape. Instead, you can use any
of the Shape tools to create a shape layer,
then grab your Type tool, click inside the
shape, and start typing. Photoshop will fit
your type in the boundaries of the shape
reqordless ol line 6reo|s, lonr sryle, or size.
Capture color
If you’ve ever been working on a design
and then came across a color, say on a
webpage, that you thought would be
perfect for what you’re working on, then this
tip is for you. First, position your Photoshop
canvas and whatever window has the color
in it so you can see both of them onscreen.
Then select the Eyedropper tool, click-and-
hold on your canvas, drag the tool over the
color regardless of where it is onscreen, and
release your mouse button.
9pDXkkBcfjbfnjb`
Finding Pantone
Want a quick way to find the approxi-
mate Pantone color for a color in your
image? First, use the Eyedropper tool (I)
to select the color. Then, click the Fore-
ground color swatch at the bottom of
the Toolbox to open the Color Picker.
Click on the Color Libraries button on
the right and you’ll see the approximate
color swatch for whichever Pantone
library is selected in the top pop-up
menu. To get back to the Color Picker
just click the Picker button.
©
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FeatureHotTips_MarApr08.indd 41 2/8/08 12:21:46 PM
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Masking adjustment layers
Adding an adjustment layer such as Photo
Filter and then painting on the layer mask
can be of great use to make subtle changes
to only portions of a photo. But it can be a
challenge to see what you’re doing when
you’re masking, so try this: Put the setting
(in this case Density) in the adjustment
layer very high until the color change is
overly obvious, and then paint on the mask.
Finally, double-click on the adjustment layer
in the Layers panel to lower the setting to
an appropriate amount.
Reset Camera Raw sliders
In Camera Raw you can reset any slider to
the default setting by double-clicking on the
slider control knob.
One-click actions
A great way to take advantage of actions is
to record very simple, one-step operations
that you use all the time, such as adding
a white stroke layer style, rotating 10%, or
scaling 20% smaller. Record each of these
as an independent action and then change
the Actions panel to Button mode. Now
each of your actions can be applied with
one click of a button.
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Unusual color tint
A variety of interesting effects can be
achieved by adding a Black & White adjust-
ment layer and then using the Blend If
sliders. (From the Add a Layer Style pop-up
menu, choose Blending Options). As you
drag the This Layer and the Underlying
Layer sliders, you’ll see portions of the origi-
nal color image starting to show through.
Change adjustment layers
If you’ve added an adjustment layer and
painted a mask, you don’t need to repaint
the mask if you decide to change to a dif-
ferent adjustment layer. Just go to the Layer
menu to Change Layer Content and pick
the new adjustment layer—the layer mask
will be preserved.
Zoomify
One often-overlooked function in Photo-
shop CS3 is Zoomify. If you want to add
a high-resolution image—or a pano—to
your website, Zoomify will create a file
that your visitors can zoom and scroll. Just
use File>Export>Zoomify, choose your set-
tings, and upload the resulting files to your
Web server.
Explore quadtone presets
If you’re printing your own black-and-white
images, take some time to experiment with
the Quadtone presets. First convert your
document to grayscale (Image>Mode>
Grayscale) and then from the Image>Mode
menu choose Duotone. In that dialog, pick
Quadtone and then click the Load button (be
sure to navigate to the Duotones folder in
the Presets folder of your application folder).
Load one of the presets fromthe Quadtones
folder to create a dramatic black-and-white
look (the presets use multiple colors, so don’t
send the file to a print shop thinking it’s a
one-color job, ’cuz it ain’t!).
Editing keyboard shortcuts
Although it’s easy to change keyboard
shortcuts (Edit>Keyboard Shortcuts), the
challenge can be to find shortcuts that aren’t
already in use. One solution is to replace
shortcuts you never use. For example, Shift-
Command-L (PC: Shift-Ctrl-L) is currently
assigned to Auto Levels, a command most
people don’t use. As you’re looking for use-
able shortcuts, think about the commands
you never use and apply these shortcuts to
commands that you wish had a shortcut.
Adjusting layer masks
If you’ve painted with gray on a layer mask
and then want to experiment with lighter
and darker shades of gray on the mask, use
Levels (Command-L [PC: Ctrl-L]). Move the
midtone triangle in the center to the left or
right to change the shade of the gray paint
on the mask.
Open JPEGs in Camera Raw
As of Photoshop CS3, you can open and work with JPEGs and TIFFs in Camera Raw.
There are a number of ways to do this, but the simplest method is to Control-click (PC:
Right-click) on the file in Bridge, and then from the contextual menu, choose Open in
Camera Raw. (To make Camera Raw the default for JPEGs that you’ve already edited
in Camera Raw, go to the Camera Raw preferences and check the box that says Always
Open JPEG Files with Settings Using Camera Raw.)
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Multiplace
When using the Place command (File>Place),
hold down Command (PC: Ctrl) and you can
select multiple files to place. The files can be
a combination of image types, text, or spread-
sheets. When you have the loaded graphics
icon active you can use the Arrow keys to
switch between images before you place
themon the page. If there’s an image you no
longer want, press the Escape key while that
image is active in the multiplace cursor.
Empty frame fitting options
You can set up an image frame that auto
scales your images to fit. Create an empty
graphic frame with the Rectangle Frame
tool (F). Select Object>Fitting>Frame Fit-
ting Options. You will then have the choice
between three very satisfying frame-fitting
options. Now when you place an image into
this frame it will automatically resize it to fit.
Type tool converts
Many people have been met with frustration
when they clicked on a regular frame with
the Type tool and it converted it to a text
frame. This can be avoided by changing a
new preference (Command-K [PC: Ctrl-K]).
Under the Type Options, deselect Type Tool
Converts Frames to Text Frames.
Quick-changing tools
Double-clicking any image frame with the
Selection tool will change you to the Direct
Selection tool. You can use the Direct Selec-
tion tool to resize and change the cropping
of an image. When you’re done, double-
click again and you’ll be safely returned to
the Selection tool.
Snippet libraries
Snippets are so easy to make, many people
make them by mistake! Any object, or group
of objects, you drag from InDesign onto your
desktop becomes an .inds file (InDesign
snippet). You can also create a snippet by
dragging any graphic into an Adobe Bridge
window. The advantage to dragging them
to Bridge is that you get a nice preview.
Now you can simply drag them back to
any InDesign document and they’ll be fully
editable. If you hold down Option (PC: Alt)
when dragging, they’ll place back in the
exact position from whence they came.
Duplicate page layouts
We all know that duplicating layers in
Photoshop can be helpful (and then some).
Duplicating pages in InDesign can be just
as helpful when you want to try a variation
on a layout. Open the Pages panel and
drag-and-drop any page you wish to dupli-
cate onto the Create New Page icon. It will
duplicate the page and all of its contents
for a quick click-and-giggle.
Better contact sheets
Photoshop can do contact sheets, but
InDesign can do them better. Select a
bunch of images in Adobe Bridge and
go to Tools>InDesign>Create InDesign
Contact Sheet. Not only can you include
filenames, but any amount of metadata,
including camera data. You can even
design your own template to use. Why not
use the option to automatically create a
multipage PDF based on the results?
Customizing menus
If you suffer from short-term memory
loss, then you may want to set yourself
some InDesign menu reminders. Go to
Edit>Menus and from here you can colorize
or hide any menu item you wish. There’s
a host of vibrant colors sure to jog your
memory on which item you should be
selecting in the future. It’s also a great prac-
tical joke to hide some critical menu items
on an unsuspecting colleague or workmate!
Wet floor
Drop shadows are like so five minutes ago.
The new look is the wet floor, or the reflec-
tion. Take any object or group of objects in
InDesign and duplicate it (Edit>Duplicate).
Hold down the Command key (PC: Ctrl key)
and drag the top middle control handle
down and invert the file. Move the inverted
file until it’s reflected under the original. Using
the new Gradient Feather effect (Object>
Effects>Gradient Feather), change the
Angle to create your reflection. Play with the
Opacity and Location of the Gradient Stops
until you get that great-looking wet floor.
InDesign in InDesign
InDesign can place many different for-
mats. However, the most useful one as
far as productivity goes is its own format
(.indd). Yep, you can now place one In-
Design file into another InDesign file as a
link. Just like an image, it can be edited
with the Edit Origi-
nal function. This
means that two
or more designers
can work on the
same layout.
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Erase everything
The Eraser tool (Shift-E) works similar to the
Paintbrush tool (B) in that it only affects the
areas where you paint. However, if you hold
down the Option key (PC: Alt key) you can
click-and-drag around an entire area with the
Eraser tool and erase everything in that area.
Twisted type
There’s a little-known dialog of options when
you’re editing text on a path. If you have
type selected on a path, you can double-
click the Type tool in the Toolbox to access
the Type on a Path Options. These features
allow you to edit how the text behaves on
the path—things like the effect, how it’s
aligned to the path, and even the spacing.
Transform control
The Free Transform tool (E) has been around
forever but some still have trouble with it.
It’s used to distort objects disproportion-
ately, but it tends to be tricky. With the
object selected, choose the Free Transform
tool and click-and-hold one of the corner
handles. Press-and-hold the Command key
(PC: Ctrl key) and the cursor will change.
Now you should be able to distort the
corner point independently of the other
corner points.
Move to a new layer
You can easily transfer objects to a different
layer. Select one or more objects and in the
Layers panel you’ll see a small color swatch
on the far right of that layer that represents
the selection. Simply click on the swatch
and drag it to the desired layer. This will
copy those selected items to that layer.
Turn down the lights
Illustrator CS3 now gives you the option of
darkening your interface. This is popular
among artists because it puts more emphasis
on your work and colors look better. To
change the interface, just go to Illustrator
(PC: Edit)>Preferences>User Interface.
Choose the desired Brightness and click OK.
More than it appears
If there’s one feature that I would recom-
mend getting really familiar with, it’s the
Appearance panel. This one little panel is
capable of so much more than it seems. You
can apply effects and blend modes to the
fill color and stroke colors separately. You
can even have multiple instances of fills and
strokes all on one path and all managed
inside the Appearance panel. It’s kind of like
having a Layers panel for each object.
Combine and expand
When using the Pathfinder panel to com-
bine shapes, you need to select the objects,
click one of the Shape Modes buttons, then
click the Expand button to expand the
vector lines into one shape. You can com-
bine these two functions by holding down
Option (PC: Alt) when you click any of the
Shape Modes buttons.
Defined exports
The Crop Area tool (Shift-O) allows you to
isolate a specific area of your Illustrator file
that you want to export. You can manually
draw a defined area with the Crop Area tool
or double-click the tool in the Toolbox to
open the Crop Area Options. Here you can
input the dimensions manually or choose
from a list of Presets, which include settings
for video, Web, and print.
Quick custom gradients
Did you know that when creating gradi-
ents you can drag swatches right from the
Swatches panel or even from the Color
panel and drop them on the Gradient Slider
in the Gradient panel? Now you do.
Point options
Anyone who has been using Illustrator for
some time knows that one of the most
frustrating things has been selecting paths
and points in really complex drawings.
Illustrator CS3 has a new set of Preferences
called Selection & Anchor Display. These
allow you to set a Tolerance so points can
be selected within a specified pixel range
and you can set points to highlight when
you mouse over them.
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Keeping it all together
The J key toggles Object Drawing mode
on and off. When it’s on, shape tools (such
as the Rectangle tool) draw shapes with
fills and strokes automatically grouped
together. This allows you to manipulate
shapes as wholes; for instance, resiz-
ing them without having to select both
their fills and strokes first. If you later
need access to a shape’s fill and stroke
separately, select the shape and choose
Modify>Ungroup.
Create and distribute
Each symbol you animate must reside
on its own layer. But you don’t need to
create each one on its own layer. Instead,
create them all on Layer 1. Once you’re
done, select all the symbols on the
Stage, and choose Modify>Timeline>
Distribute to Layers. Flash will create a
layer for each selected object, moving
the objects to their respective layers and
even auto-naming the layers after the
symbols they hold.
Close the gap
If you have trouble filling a region with the
Paint Bucket tool, there may be a small
gap in its boundary. With the tool selected,
choose Close Large Gaps from the Gap Size
options at the bottom of the Toolbox. Then
click inside the boundary. If the area still
won’t fill, the gap is too large. You’ll have to
manually close it.
Control Auto Format
Don’t like the way Auto Format messes with
your ActionScript? Choose Flash>Prefer-
ences (PC: Edit>Preferences) and click the
Auto Format option. Flash will allow you
to make many alterations to the way Auto
Format works.
Community assets
Want to move an asset from one FLA file to
another? With the target file open, choose
File>Import>Open External Library and
pick the FLA with the asset you want to
use. Flash will open that FLA’s Library in the
target file. Drag items from the Library to
the Stage.
Break apart text
In Flash, you can edit letterforms as vector
shapes. Select the text, and then press
Command-B (PC: Ctrl-B) twice. You’ll then
be able to access vector points with the
Subselection tool.
Smooth operator
If you select a vector shape and then choose
Modify>Shape>Smooth, Flash will simplify
it, generally cutting down the number of
vector points that comprises it. Repeat the
command for an even smoother look.
All things translucent
Previous versions of Flash only allowed
you to adjust alpha (transparency) on
symbol instances. In CS3, if you select a
shape, you can adjust its alpha by choosing
Window>Color and manipulating the
Alpha slider.
Blend to reveal
If a movie clip overlaps a grouped shape or
symbol, partly obscuring it, you can visually
blend the movie clip with the underlying
shape/symbol by selecting it (the movie
clip) and picking a Blend option (similar to
Photoshop) from the Property inspector.
Total ease in control
Feel frustrated by the primitive easing capabilities of Flash? Select a keyframe,
enable motion tweening, and click the Edit button on the Property inspector. Flash
will display a window containing a curve similar to After Effects for you to manipu-
late. Uncheck the Use One Setting for All Properties option to ease individual prop-
erties separately. For instance, you can ease just Position but not Rotation. Or you
can ease both properties in different ways. The easing curve is a Bézier curve. Add
points to it by clicking along the line. Then drag the points (or their handles) to affect
easing. To preview the results, press the play button at the bottom of the dialog.
Remove points by selecting them and pressing the Delete key (PC: Backspace key).
FeatureHotTips_MarApr08.indd 45 2/8/08 12:23:05 PM
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Importing images in PDFs
Images can be imported in your PDF docu-
ments from a variety of file formats. With
the TouchUp Object tool, Control-click (PC:
Right-click) and choose Place Image from
the contextual menu. From the Show (PC:
Format) pop-up menu in the Open dialog,
choose a file format for the image type you
want to import.
Disabling the Hand tool navigation
In Full Screen mode, clicking with the Hand
tool advances page views. This isn’t neces-
sary if you add navigation buttons to a PDF
document. You can easily disable the Hand
tool navigation feature by adding a simple
JavaScript to your file. Choose Advanced>
Document Processing>Document Java-
Scripts to open the JavaScript Functions
dialog. Type a name in the Script Name
text box and click Add to open the Java-
Script Editor. Delete the default text and
type the following line of code:
app.fs.clickAdvances=false;
Click OK and click Close in the Java-
Script Functions dialog. Save your file and
the cursor function is disabled when you
reopen the document.
Importing images in Adobe Reader
Button faces for images can be changed in
Acrobat by clicking a button and choosing
a new image. However, you can’t change
images using Adobe Reader. To overcome
the problem, open a PDF file in Adobe
LiveCycle Designer (Windows only). Add an
Image Field from the Library panel. Save the
file and Adobe Reader users can click the
Image Field button to open a dialog where
an image can be imported in the document.
Add special characters to
bookmark names
Special characters such as formula symbols,
foreign language characters, graphic
symbols, etc. can be imported on bookmark
names. Position the cursor in the bookmark
name where you want to add a special
character. On the Macintosh, choose Edit>
Special Characters to open the Character
Palette. Double-click on the character you
want inserted.
On Windows, open the Start menu and
choose Programs>Accessories>System
Tools>Character Map to open the Character
Map panel. Choose a font, click a character
you want to insert, click the Select button, and
click Copy. In Acrobat, place the cursor in a
bookmark name and press Ctrl-V to paste.
Populating tables with radio
buttons and checkboxes
Radio buttons and checkboxes require iden-
tical field names with different export values
to create mutually exclusive fields that turn
on one item while the other matching radio
button/checkbox is turned off. If you have
a table with several columns and rows of
radio buttons/checkboxes, you need to
manually create them. For a shortcut to
manually creating fields, do this:
Create one column of radio buttons or
checkboxes with each field named xxx.0,
xxx.1, xxx.2, etc. The default Export value is
Yes. Click the Select Object tool and select
the column of fields. Press Option-Shift (PC:
Alt-Shift) and drag the column to the next
area. With the second column selected, open
the Properties dialog and click the Options
tab. Change the Export Value to No.
Drag the Select Object tool around all
fields to select both columns. Choose Edit>
Copy to copy both columns. Open the
Fields navigation panel. Control-click (PC:
Right-click) on the parent name (xxx in this
example), choose Rename Field, and type
a new name for the fields. The parent name
xxx changes while the child values remain
the same. Choose Edit>Paste. The pasted
fields have a parent name of xxx. Position
the fields on the form and rename them in
the Fields navigation panel. Continue the
same steps to populate a table.
Adding navigation links in
PDF packages
Create a button on one page in a PDF
package. In the Actions tab in the Button
Properties, open the Select Action pop-up
menu and choose Go to a Page View. Click
Add, and the Create Go to View dialog
opens. Open a view in another document
contained in the PDF Package and adjust
the zoom level. Click Set Link.
Exporting table data
Table data in a PDF file can be exported to
a spreadsheet program such as Microsoft
Excel. Drag the Select tool through a table
to select the data. Pause momentarily
until a pop-up text icon appears. When
the cursor is placed over the icon a menu
opens. You should see Copy as Table, Save
as Table, and Open Table in Spreadsheet as
menu items.
Inserting PDF pages from
the desktop
To insert a page in a PDF document from
the desktop, open the Pages panel and
drag a PDF document contained in a folder
or on your desktop to the Pages panel. The
PDF can be inserted at the beginning, end,
or between pages in the document.
Replacing pages
When editing PDFs, return to the original
authoring program to make edits on docu-
ment pages. If you have items such as form
fields, comments, etc. in a PDF, you can
preserve the content added in Acrobat by
choosing Document>Replace Pages when
changing background layouts.
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FeatureHotTips_MarApr08.indd 44 2/8/08 12:22:41 PM
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Where’s the beef?
To beef up “wishy-washy” footage, apply
Effect>Channel>CC Composite, set the
Composite Original pop-up to Overlay,
and then adjust Opacity value to taste. This
composites the original image on top of
itself using the Overlay blend mode, but
without having to duplicate the layer.
Different strokes
Shape layers (introduced in CS3) can create
fancy stroked lines. After creating a stroked
path using the Pen tool, reveal the shape
layer’s Stroke section. Click on the + symbol
next to Dashes to add segments and gaps
for dotted lines; set Line Cap to Round Cap
for dots. In the Timeline, select Add>Trim
Paths to animate the length of the line;
use Add>Wiggle Paths to make it wiggle
automatically.
Rehearsing presets
Have you ever tried out dozens of text
presets only to realize your favorite was one
you already deleted—and you can’t remem-
ber its name? Before you start, duplicate
your text layer a few times and use these
duplicates to rehearse various presets. Keep
layer 1 “clean” as a backup. With only layer
2 visible, apply a preset and preview it. If
you don’t like it, Undo. If it looks promising,
turn off layer 2, turn on layer 3, and apply
another. When done, compare the results
and keep your favorite.
Editing Photoshop text
If you create text layers in Photoshop then
import this file as a Composition, its text
layers default to being rendered as pixels.
To make the text editable again, select the
layer and go to Layer>Convert to Editable
Text. The layer will now behave like any
other After Effects vector text layer.
Fading into the distance
The Audio Levels control in After Effects is
great for setting volume levels, but creates
abrupt fades when animated. Instead, use
Effect>Audio>Stereo Mixer. For more accu-
rate fades, select its keyframes and apply
Easy Ease In.
A clearer blur
The Compound Blur effect allows you to
blur one layer based on the luminance of
another layer, but unfortunately the results
look blocky. Instead, use Effect>Blur &
Sharpen>Lens Blur. Set its Depth Map Layer
pop-up to the layer that will provide your
blur map. Not only does it look smoother,
Lens Blur allows a lot of additional customi-
zation possibilities.
Smart queue
To quickly change the default Render Set-
ting or Output Module used in the Render
Queue, press Command (PC: Ctrl) as you
select a template from the pop-up menu.
Your selection will become the new default.
Layer with style
New in CS3, Layer>Layer Styles offer great
drop shadow, glow, and embossing effects.
Best of all, layer styles render after track
mattes are calculated, so you can easily
apply their drop shadows or glows to a
layer that is matted. With ordinary effects,
you would have to precompose first.
Before
After
Camera roller coaster
When animating a 3D camera, the Point
of Interest can get in the way. Use Layer>
Transform>Auto-Orient to either turn it Off,
or select the Orient Along Path option to
automatically rotate the camera along its
motion path (add a little Z Rotation when
banking around bends).
Taming the frame rate
Effects that randomize on every frame (such
as Numbers) often look too nervous or busy.
To animate at a slower rate, precompose
the layer (Layer>Pre-compose), open the
precomp’s Composition Settings (Compo-
sition>Composition Settings), and set a
lower frame rate. Then under the Advanced
tab, enable the Preserve Frame Rate When
Nested option. This trick is also useful for
masking 24 fps footage when nested into
a 29.97 fps comp to stop the mask from
interpolating at the higher frame rate.
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Make a Flash video player
without Flash?
You don’t have to go into Flash CS3 to
place a video on a page in Dreamweaver.
Click on the Flash Video button in the
Common tab of the Insert bar, and you can
add the FLV file of your choice and choose
the player. Keep in mind that you’re going
to need to convert your video files to FLV
to use this feature.
Encoding video without
Flash CS3?
Many people believe that encoding a movie
file into Flash requires you to open Flash
to do this. However, if you have Flash CS3
Professional installed, there’s a good chance
that you have the Adobe Flash CS3 Video
Encoder. This program will let you encode
your movie files into FLV without using the
Flash CS3 program. Just a few clicks and
you’re on your way. [See “Converting Video
Files into Flash Format” by Janine Warner
in the Tutorials section at www.layersmaga-
zine.com.—Ed.]
Use descendant (contextual)
selectors when working with CSS
When you start formatting pages, there
are going to be times where specific CSS
rules will apply to tags only when they’re
used in a specific content. Probably the
most common of these is the application
of CSS to the image tag, but only when
it’s used within the <a> block. What if you
would like the IMG tag to have a border,
but have no border when an image is used
as a link? Select the Advanced option in
the New CSS Rule dialog, and type in: a
img. This will create a contextual selection
that you can format as you see fit—the rules
will only apply when the tag is used in the
context that you specified in the dialog.
Reading HTML is easier with a
color scheme
There are times when reading the HTML
code is a must. Make it easier by color
coding the HTML code to your liking.
Go into the Dreamweaver Preferences
(Command-U [PC: Ctrl-U]), select Code
Coloring from the left column, and click
the Edit Coloring Scheme button. Here
you can specify the color in which specific
blocks of HTML code appear.
Old code cleanup is a breeze
using Find and Replace
Find and Replace (Edit>Find and Replace)
doesn’t just let you work with selected sec-
tions of code; you can change code in one
page, multiple pages, or an entire site.
Use the same colors over
and over
When you design a site, you want to make
sure that the colors you use are consistent.
Rather than writing the colors down on
a sheet of paper, use the Assets panel
(Window>Assets) to keep track of the colors
you’ve used.
Wrap an image with text
Setting up text around an image doesn’t
really require a table with two columns.
Clicking on the Align option in the Property
inspector lets you specify how you want the
text to wrap along the image.
Code Hints save you from typing
When you have to code HTML in Code
view, take advantage of the Code Hints
feature of Dreamweaver. As you start typing
common code, a drop-down will appear
with possible matches. Arrow up or down
to the code that you’re looking to type, and
hit the Return (PC: Enter) key. This will bring
you to the next component of your code.
Pressing Enter again will bring you to the
value section.
I don’t like naming files .html
And neither should you. If you feel like I do,
you can change this in the Preferences. In
the New Document extension you’ll see the
Default Document type and Default Exten-
sion. Change the default extension to .htm,
and you’ll never have to do it again.
You can record actions in
Dreamweaver? Of course!
There will be times when you have a repeti-
tive task that needs to be done to multiple
pages. You don’t have to bore yourself to
sleep anymore. Record the repetitive task
using Start Recording under the Commands
menu. Stop when you see fit, and replay
the command (Commands>Play Recorded
Command) on all of the pages you need to
re-create the action on.
FeatureHotTips_MarApr08.indd 46 2/8/08 12:23:32 PM
Corey Barker
Corey Barker is an Education and Curriculum Developer
for the National Association of Photoshop Professionals.
His expertise in Adobe Photoshop and Adobe Illustrator
has earned him numerous awards in illustration, graphic
design, and photography.
Rafael “RC” Concepcion
Rafael “RC” Concepcion is an Education and Curriculum
Developer for the National Association of Photoshop Pro-
fessionals. An Adobe Certified Instructor in Photoshop
and Illustrator, RC has more than 10 years’ experience in
the I.T. and e-commerce industries and has hosted train-
ing seminars in the U.S., Europe, and Latin America.
Dave Cross
Dave Cross is Senior Developer, Education and Curriculum,
for the National Association of Photoshop Professionals.
He is the author of Photoshop Finishing Touches and The
Photoshop CS2 Help Desk Book, and is featured on a
series of Photoshop training DVDs.
Marcus Geduld
Marcus Geduld is the Senior Flash Developer for Nabbr
.com and an Adobe Certified Expert who has written
several books on Adobe products. He speaks regularly
at conferences such as NAB, Macworld, and the Editors
Retreat. He lives in New York City and is the Artistic
Director of Folding Chair Classical Theatre.
David Helmly
David Helmly has worked for Adobe Systems, Inc.
for more than 12 years and has specialized in digi-
tal video and digital imaging products for more
than 21 years. Currently, David is working as
the Sr. Business Development Manager for
DV/DI for North America. Check out his blog
on video, imaging, and audio at http://blogs
.adobe.com/davtechtable.
Scott Kelby
Scott is Editor-in-Chief and co-founder of Photoshop User
and Layers magazines. He is President of the National
Association of Photoshop Professionals (NAPP), the
trade association for Adobe Photoshop users, and the
best-selling author of several books including The Adobe
Photoshop Lightroom Book for Digital Photographers.
Matt Kloskowski
Matt Kloskowski is an Education and Curriculum Devel-
oper for the National Association of Photoshop Profes-
sionals. He has authored and co-authored several books
on Photoshop and Illustrator, including the soon-to-be-
released Layers: The Complete Guide to Photoshop’s
Most Powerful Feature. He also teaches an advanced
Photoshop course for Sessions.edu.
Mike McHugh
Mike McHugh is an Adobe Certified Training Provider and
Adobe Ambassador from Melbourne, Australia. He is also
the co-author of How to Wow with InDesign CS2 and How
to Wow with Photoshop Elements 5, both published by
Peachpit Press. Mike also hosts a popular video podcast,
Creative Sweet TV.
Trish & Chris Meyer
Trish and Chris Meyer of CyberMotion (www.cybmotion
.com) have used After Effects since version 1. They are the
authors of After Effects Apprentice and Creating Motion
Graphics with After Effects, 4th Edition (both published
by Focal Press).
Ted Padova
Ted Padova has written more than 25 computer books
and is one of the world’s leading authors on Adobe
Acrobat. His books have covered Acrobat, Photoshop,
Photoshop Elements, Microsoft PowerPoint, and Illustra-
tor. One of his more recent books is the Adobe Acrobat 8
PDF Bible.
FeatureHotTips_MarApr08.indd 49 2/8/08 12:24:35 PM
9p;Xm`[?\cdcp
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Printable shortcuts
If you want to print your keyboard shortcuts,
press Shift-Command (PC: Shift-Ctrl), go to
Edit>Keyboard Customization, and you’ll
see a new button for Clipboard. Click the
Clipboard button, go to your text editor, and
paste the text. You should see a huge list of
keyboard shortcuts that you can now print.
Quick replace
Premiere Pro CS3 inherits an old feature
from After Effects that makes replacing
clips on the Timeline quick and easy. Once
replaced, all of your effects and keyframing
will be applied to the new clip. Here’s how:
Press Option (PC: Alt) and drag the clip you
want to use from the Project panel on top of
the clip you want to replace in the Timeline.
Audio precision
Want more control when trimming a clip’s
audio? Try this: From the flyout menu of
the Source Monitor panel or the Sequence
panel, change Timecode to Show Audio
Time Units. This will allow you to get incred-
ible zooms for greater audio precision in
your audio edits.
Red sync alert
Sometimes when you move a clip on the
Timeline, you may see red timecode on
the clip. This means that you accidentally
moved either the linked audio or video track
and it’s now out of sync. This usually hap-
pens if you were holding a combination of
modifier keys when you moved a clip. This
can be quickly fixed by Right-clicking on the
red timecode and selecting Move into Sync
or Slip into Sync.
J- and L-cuts made easy
Using the Selection tool, select a clip either
by its video or audio (depending on what
you want to edit) on the Timeline. Press
Option (PC: Alt) and drag left for a J-cut and
right for an L-cut. Note: Make sure you’ve
trimmed your clip and you have enough
header or tail on your clip to make the cut.
Overwrite protection
When moving clips around the Timeline,
you can avoid accidentally overwriting
another clip’s video track or audio track by
first selecting the audio track of the clip
you want to move and moving it down to
another available audio track. Move the
video up to another available video track
and you’ll see that both the video and
audio tracks are still in sync as you move
them around the Timeline.
Marker sharing
Sharing Markers between Premiere Pro,
Encore, and Flash is noweasier than ever. Clip
markers from Premiere Pro come into After
Effects as layer-time markers on the layer (clip)
with which they were originally associated.
Layer-time markers in clips exported from
After Effects appear as sequence markers
in Adobe Premiere Pro. Sequence markers
in clips exported from Adobe Premiere Pro
appear as chapter points in an Adobe Encore
Timeline. Sequence markers in clips exported
from Adobe Premiere Pro appear as cue
points in Adobe Flash projects.
Make a match
If you ever have issues with media not
matching your project settings (e.g., aspect
ratios or frame rate), you can quickly fix this
by selecting a clip in the Project panel and
going to File>Interpret Footage. You’ll see
choices for Frame Rate, Pixel Aspect Ratio,
and Alpha Channel. Choose the settings
that match your project settings.
There’s no place like Home
One new feature in all Adobe CS3 applica-
tions is found in Adobe Bridge CS3. The
new Bridge Home button can link you with
new tutorial videos, community groups, and
blogs. With an Internet connection, simply
click on the Bridge Home button, wait for it
to load (pings Adobe for new updated info),
select the CS3 application you’re using, and
a page full of great info appears.
Let it snow via the MediaCore folder
If you use Production Premium CS3 you can quickly share some of your After Effects plug-ins
with Premiere Pro. One group of plug-ins included with After Effects CS3 is the new Cycore
effects. Here’s how you get them to work with Premiere Pro and After Effects:
º Locore r|e CycoreFX lolder in Mocinros| HD/Applicorions/Ado6e Alrer Ellecrs CS3/Fluq-ins/
Effects (PC: C:Program Files\Adobe\AfterEffects\Support Files\Plug-Ins\Effects\Cycore).
º Move (nor copy) r|e CycoreFX lolder ro your des|rop.
º Locore r|e Ado6e s|ored resources lolder MedioCore in Mocinros| HD/Li6rory/Applicorion
Supporr/Ado6e/Common/Fluq-ins/CS3/MedioCore (FC: C:Froqrom Files\Ado6e\Common\
Plug-ins\CS3\MediaCore).
º Simply move r|e CycoreFX lolder inro r|e MedioCore lolder. Now 6or| Fremiere ond
After Effects will share
these plug-ins.
Note: Many of the included
After Effects plug-ins and
third-party plug-ins will not
work in Premiere Pro as they
use different adjustment set-
tings than Premiere Pro. To be
safe, I recommend moving
only r|e CycoreFX lolder.
FeatureHotTips_MarApr08.indd 48 2/8/08 12:24:19 PM
Feat_DVCamera_Mar08.indd 3 2/8/08 12:41:06 PM
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Every year, during the beginning of the holidays (last part of November, first part
of December), I get a very specific kind of question, and this past year was no dif-
ferent. First, it came from Layers VP of Sales, Kevin Agren, as I was walking down the
hall; then, it came from about a half dozen people at my church; and finally it came
from my neighbor Mike from across the street—they all wanted to know what was the
best digital video camcorder for them to get to record their family events that holi-
day season. Naturally, this is one of those questions that invites me to respond with
a barrage of additional questions: Do you want to edit the video on your computer
or just show it directly on your TV? How much do you want to spend? Do you want a
separate mic hookup? Do you want to capture video in HD? And on and on and on…
Then there’s this problem: At the Consumer Electronics Show (CES) in January,
the major camera companies announce new models of consumer video cameras. This
makes many who bought cameras during the holidays feel like they should have
waited. What they don’t tell you is that most of these new models won’t be avail-
able in retail stores until the summer months. They’re just trying to build up some
hype and momentum before they send early release models to the various publica-
tions to get reviewed.
So what’s a person supposed to do who wants a great video camera now? Today.
Right this very moment! Well, the best thing is to look for cameras that have been
on the market at least three months and have been tested by both professional
reviewers and by your average everyday consumer in forum posts and
on sites, such as Amazon.com.
What? You don’t have time to look through the hundreds of models,
and then read the thousands of reviews, blog postings, and forum com-
ments to whittle down your options? Then take a look at my following
picks for the video cameras that deliver the best bang for the buck.
The best part is that you can go out and buy these cameras today. I’ve
broken them up in five categories based on price.
8
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By Rod Harlan
Feat_DVCamera_Mar08.indd 2 2/8/08 12:35:33 PM

cuts the effective price down to $675. That means that you can get an
HD camcorder for only $175 more than my miniDV camcorder pick.
[For more information, visit www.usa.canon.com/consumer.]
The contenders
I like the Sony HDR-CX7 ($1,099; street price around $850) and the
Panasonic HDC-SD1 ($800) because they both record to solid state
memory based cards, similar to your digital still camera (the Sony uses
Memory Stick PRO Duo cards and the Panasonic uses SD cards).
I really feel that this is the way all video recording is going in the near
future—away from tape capture and recording directly to a digital
file. In fact, the Sony HDR-SR7 ($1,399; street price around $1,200) is
a good choice if you want a camera that has a 60-GB hard drive built
into it. But the problem with all of these cameras is that they record to
the AVCHD format, which is a highly compressed format and is, quite
frankly, a real pain to try to edit.
On the Mac, you can use any of Apple’s software (iMovie 08, Final
Cut Express 4, or Final Cut Pro 6.0.2) to edit your files, but you’ll find
that all three of the programs transcode the AVCHD format into the
Apple Intermediate Codec (AIC). This means that your 4 GBs worth
of AVCHD video files quickly turn into 40 GBs of crowded editing
footage on your hard drive. And on the PC, the only decent AVCHD
editing solution is the pro-level Sony Vegas application (retail $585),
which costs almost as much as the cameras. All in all, I’m just not
sold on the AVCHD format yet.
8;IJFHE#B;L;B>:97C;H7
KD:;H)"+&&
So now let’s look at the more professional-level HD cameras costing
less than $3,500. These cameras are near and dear to the working
professional in the commercial, corporate, educational, and wedding
fields, among others. The winner for me in this category is the Canon
XH A1, which is an amazing piece of engineering for a remarkable price.
At just more than $3,000 (with rebate), the XH A1 camcorder has
three 1/3" 16:9 interlaced CCDs that capture images at 1080i resolu-
tion. The camcorder features selectable frame rates of 60i, 30F, and
24F. This allows you to capture sports at 30 frames or a more film-like
look at the 24 frame rate. The 60i frame rate is the current resolution
of choice for many reality TV shows.
I really like the great lens, optical stabilizer, and super-fast focus that
come standard with this camera. At this price point you’re not able to
change out the lens for another, but the 20x Professional L Series Fluorite
fixed lens that the XH A1 ships with provides excellent image fidelity.
My only complaint is with the onboard mic. You can easily triple the
audio quality that this camera records by buying a decent shotgun
mic ($500) and attaching it to the included shotgun mount. All in all,
a fantastic camera for the price. [For more information, visit www.usa
.canon.com/consumer.]
8;IJFHE#B;L;B>:97C;H7
EL;H)"+&&
Now this is the category where we pull out all the stops and look for
the best of the best—but please don’t take that to mean that I’m
including the $75,000 VariCam setup for the next great Hollywood
cinematographer. I’m actually just focusing on those cameras less than
$10,000 that still deliver a great bang for the buck and also offer a
little something extra. And with these criteria, the choice was easy.
Arguably the hottest camera on the market today is the Panasonic
AG-HVX200. Every pro I know either already has one or is getting one
in the near future. Even podcasters are scooping these up in quantity. My
friends over at Photoshop User TV (www.photoshopusertv.com) already
have two of these units, and I wouldn’t be surprised if they picked up two
or three more before the end of the year. The guys over at DJ TV (www
.digitaljuice.com/djtv) also swear by them.
So what’s all the fuss about? Well, the camera is compatible with
DVCPRO HD, DVCPRO 50, DVCPRO 25, and consumer DV recording
standards. It also uses three wide-aspect CCDs for true 16:9 recordings.
It even comes with a wide-angle Leica Dicomar HD 13x zoom lens with
advanced glass coatings. But the most significant reason it stands
out from the pack is that it uses Panasonic’s new P2 memory cards
for recording. This disk-based recording medium makes the video
immediately accessible to nonlinear editing systems (such as Premiere
Pro, Final Cut Pro, etc.) and forever leaves behind the boring task of
digitizing video footage fromtape.
But this editing ease and technology innovation doesn’t come cheap.
While you can get a camera for around $5,200, by the time you add a
couple of extra P2 cards and an accessory or two, you’ve easily spent
your $8,000 budget in one fell swoop. Ahhh, but as many happy users
are eager to tell you, it’s totally worth it. [For more information, visit www
.panasonic.com/business/provideo/cat_camcorders.asp.]
Rod Harlan is a video industry veteran and founder of the Digital Video Professionals Association. Through his company DriveDV Inc., Rod works on special projects for Fortune 500 clients
such as Adobe and private institutions such as the NAPP. His popular industry blog is packed with tips, tutorials, and industry insight and can be found at DVconfidential.com. [ ]
Canon VIXIA HV20 HDV Camcorder
Panasonic AG-HVX200
Feat_DVCamera_Mar08.indd 5 2/8/08 5:36:19 PM
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one-chip (CCD) camera, which means that I usually wouldn’t recom-
mend it (preferring to encourage people to spend a little more for a
three-chip camera). However, in test after test this camera does better
in low-light situations than most three-chip cameras costing a couple
hundred dollars more. This is mainly due to the fact that the one chip in
this camera is twice as big as the chips in the other cameras. So you’re
getting better quality at a lower price!
This camera also has the distinction of being able to pass analog
video through the camera’s FireWire port directly into your computer.
This means you can hook up your VCR or old Hi8 camera to the Sony
DCR-HC96 and digitize all of your old media with ease. It’s like get-
ting an analog-to-digital converter for free. And the best part is that
it has an average street price around $479. [For more information, visit
www.sonystyle.com.]
8;IJ9EDIKC;H>:97C9EH:;H
KD:;H'"&&&
So now that I’ve made my picks for the best camcorders less than $200
and less than $500, we can move onto the category that gets all of the
media attention these days: Best Consumer HD Camcorder. You’d
think that with all of the choices available and with all of the advertis-
ing that has gone into marketing camcorders in this category that
this would have been a tough decision for me—but it wasn’t. So this
time I’m not only going to tell you which one I picked as a winner,
but also which ones I didn’t pick and why.
For me, the winner in this category is the Canon VIXIA HV20 HDV
Camcorder, which captures images in the larger HD resolution of
1920x1080 onto a miniDV or miniHDV tape. It uses a 1/2.7" CMOS
sensor chip to capture those images, which tends to process faster than
the more standard CCD chip found in a lot of cameras. In this price
category, it also tends to capture richer color and sharper detail than its
competitors. But my favorite feature is that it can capture footage at the
movie film rate of 24p, something that’s practically unheard of at the
$750 street price that this camera regularly sells for. (Quick Tip: Turn on
the camera’s Cinema Mode when capturing in 24p if you want to try to
achieve a more film-like look to your video footage.)
The HV20 also has an HDMI output so you can hook it up directly
to your new HDTV, and it has an optical image stabilizer to get you
smoother results when you zoom in using the 10x optical zoom. A
3.1-megapixel still camera that records images to a mini-SD card
rounds out the cool features found in this camera. I’m a little disap-
pointed that it doesn’t do better in low-light situations (this is where
three-chip CCDcameras usually do better), but for the money this is one
incredible camera. And speaking of money, a number of online stores
are currently offering gift cards or rebates of $75 on this camera, which
8;IJ97C9EH:;HKD:;H(&&
I know, it sounds crazy. Can you really find a good DV camera for less
than what it will cost to buy a good external drive to edit the footage
on? The answer is, yes! The Canon ZR800 miniDV Camcorder comes
with a variety of features, including 35x optical zoom, image stabilizer,
16:9 widescreen capability, and an external mic jack—something you
can’t get on some camcorders costing two to three times as much.
This is the perfect camera to leave in your car’s glove box to catch
those unexpected family moments or to document an accident just
after it happens.
Over at Amazon.com, some of the commenters complain about the
motor noise this camera makes, but believe me, for an average street
price of around $175, you’ll notice the money you still have left in your
wallet more than the motor noise. And with the built-in mic jack, you can
go to Radio Shack and pick up a $20–$40 lavalier mic, pin it to your kid’s
jersey, and get an “on-the-field report” after his team’s winning soccer
match that will make him feel like he’s on ESPN and make him sound
almost as good.
Now don’t expect this camera to be as good as my next pick in the
under $500 category. Remember, that camera costs more than twice as
much! The Canon ZR800 is missing the ability to take pictures and does
poorly recording video in low-light situations. But for the money, and for
the fact that you can go to online stores such as B&H (www.bhphoto-
video.com ) and get free shipping and a free training DVD on how to
shoot and produce better videos, the Canon ZR800 is a steal. [For more
information, visit www.usa.canon.com/consumer.]
Note: The Canon ZR900 miniDV Camcorder should be available by
the time you read this but I haven’t had a chance to test it yet. The new
model should retail for around $250.
8;IJ97C9EH:;HKD:;H+&&
Sure, HD cameras and those that record direct to hard disk are all the
rage in the media these days, but those aren’t the ones the average
family man is looking to buy. In fact, everyone I talked to over the
holidays had the same thing in common: They all wanted to buy the
best camera they could get for less than $500. That seems to be
everyone’s magic price point. They don’t need the latest technology
or the newest format; they just want the best bang for the buck!
So here’s my pick: the Sony DCR-HC96 MiniDV Handycam Cam-
corder, with 10x optical/120x digital zoom, 3.3-megapixel CCD, color
viewfinder, and 2.7" Touch Panel LCD screen. Surprisingly, this is a
Canon ZR800 miniDV Camcorder
Sony DCR-HC96 MiniDV Handycam Camcorder
Feat_DVCamera_Mar08.indd 4 2/8/08 5:34:50 PM
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Rick Sammon has published 27 books, including Idea to Image in Photoshop CS2 and Rick Sammon’s Complete Guide to Digital Photography 2.0. He also produces training DVDs. Every
year, Rick teaches at dozens of workshops and seminars covering everything fromshooting to printing. See www.ricksammon.comand www.rickspixelmagic.comfor more information. [ ]
All images by Rick Sammon.
in this particular village,
she caught my eye
immediately. It was
photographic love at
first site.
So, the first tip is
to find a subject that
you absolutely must
photograph, someone
who moves you to say,
“I’ll do anything to get
that person’s picture
for myself and to share
with others.”
One of my favorite
photography adages is
that the camera looks
both ways—in pictur-
ing the subject, you’re
also picturing a part
of yourself. When you
keep in mind that the
energy, emotion, and
feeling that you project
will be reflected in your
subject’s face, especially
the eyes, you’ll get a
high percentage of
pictures that you like.
I’m sure you can tell
how I was feeling when
I took this photograph.
Ublf!uisff
When taking headshots, take a head-on photograph, a profile, and a
three-quarter’s view (as illustrated by the opening photo and the two
previous photos). Photographing a subject from different angles gives
you an assortment from which to choose your favorite.
Dbquvsf!b!obuvsbm!npnfou
To capture a natural moment, you need to establish a sense of trust
with your subject. That takes time—time you need to spend talking
to your subject, learning about her life, sharing information about your
life, and why you’re there taking pictures.
Perhaps the most important part of establishing a sense of trust is to
find a guide who has previously visited the location and who has already
gained the trust of the people, as our group did with the Himbas.
Gsbnf!ju
When you put a print in a frame, you basically dress up and enhance
the picture so the frame complements the photograph. On site, you
can frame a subject with a doorway, window frame, tree branches, or
a fence. The frame must complement the subject. Framing a subject can
also add depth to the scene, helping to create a 3D effect in a 2D image.
Tff!boe!dpouspm!uif!mjhiu
Seeing the light—the contrast, shadows, and highlights—in a
scene is the first step in getting the best possible in-camera pic-
ture. The second step is knowing how to capture and control the
light, either by using a flash, reflector, diffuser, or by moving the
subject into the shade.
This little Himba girl’s face was partially shaded by her hair. To
fill in the shadows, I used a flash for daylight fill-in flash photogra-
phy. The picture doesn’t look like a flash picture (my goal with all
my flash pictures) because I dialed down the output of the flash,
which balanced the light from the flash to the ambient light.
For the trio of tight headshots of the beautiful young woman
pictured earlier in the column, I had a student hold a gold reflector
so the sunlight (which was over and behind the woman’s hut) was
bounced back onto the subject. That’s why the pictures of the sub-
ject positioned in the dark shade look so bright and colorful. Without
the reflector, the pictures would have looked dull and flat. So don’t
leave home without a reflector, diffuser, or a flash. And keep an eye
on the light.
Hp!joufsbdujwf
When you share your pictures with your subjects, you make photo
sessions more fun and interactive. After all, who doesn’t like seeing
their pictures? That’s especially true for the Himba, who live in a
relatively remote part of Namibia. Share your pictures, and you’ll
see how easy it is to make new friends.
DigitalCameraMar08.indd 3 2/8/08 11:14:52 AM

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For the past 20 years, I’ve had the good fortune
to lead photography workshops to the far corners
of the world, mostly to photograph interesting,
diverse, and remote cultures. Talk about travel
being a great education!
This past November, eight students and I traveled with VSP Work-
shops (www.vspworkshops.com) to Namibia, where we had the unique
opportunity to photograph the Himba, an ethnic group living in the
northern part of the country. One of our goals, in addition to taking
candid and lifestyle shots, was to take a series of on-location portraits.
In this column, I’ll share with you some of the photographs from that
shoot, along with some of the specific goals we set for ourselves.
Nblf!qjduvsft-!epoÖu!kvtu!ublf!qjduvsft
Anyone can take pictures, but not everyone can make pictures.
Making pictures is creative, fun, and easy. Rather than simply pointing
your camera at a subject and pressing the shutter release button,
take the time to carefully position your subject or subjects in a scene,
as I did when I photographed these two Himba women posed against
a clear sky.
Work with a subject on his or her pose and expression. Create
a balanced photograph. Watch the background. Choose the best
f-stop for the appropriate depth-of-field, and the best shutter
speed to either stop or blur action. Work—and play—at making
pictures and you’ll feel a sense of accomplishment when you see
the results of your effort.
Gbmm!jo!mpwf
For me, the key to getting a good on-location portrait is to fall in
love—photographically—with the subject. That’s exactly what I did
when I saw this young woman. Out of the 50 or so people who lived
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After we’ve determined that the image looks good in black and
white, the most important step in getting good black-and-white
images is to remove the color from the image in the Develop
module. If you press V to Convert to Grayscale, Lightroom displays
the Grayscale sliders, but…the more superior option is to “stay in
color” and remove the saturation manually. Just go to the Develop
module’s HSL panel and lower the Saturation slider for each color.
While more time-consuming, this option allows you to make stron-
ger adjustments without adding unnecessary noise (compared to
converting to grayscale).
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Now that our image is desaturated, we’re about ready to begin
making adjustments. We’ll want to see a quick before/after to
determine if the adjustments look good; however, by pressing the
Backslash key (\) to do this, it will display the original color image.
How can we ensure that our “before” is the desaturated image?
The easiest way is to create a virtual copy, which will then act as
our “original.” Just press Command-’ (PC: Ctrl-’) and the virtual
copy will appear to the right of the original image in the Filmstrip.
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It would take forever to convert your images to black and white if
you had to lower the Saturation sliders for each color, so instead,
let’s create a preset. Select an image that hasn’t been adjusted
and in the Saturation section of the Develop module’s HSL panel,
lower the sliders to remove the saturation from the image. Next,
click on the plus icon in the Presets panel. In the New Develop
Preset dialog, enter the Preset Name (Desaturate), choose the
Folder (User Presets), and click Create. Now you’re set for the next
time you want to convert an image to black and white.
Select the virtual copy from the Filmstrip and in the Luminance sec-
tion of the Develop module’s HSL panel, click on the Target Adjust-
ment tool. This tool lets you change the luminance of specific areas
of your image. For example, to darken the tonality of the sky (which
used to be blue), move the Target Adjustment tool over the sky, click,
and drag down. To brighten the shorts (formerly red), click on them
and drag up. As you progress, evaluate the quality of the adjustments
by pressing the Backslash key (\) to toggle between the before and
after views of the image.
Convert to Grayscale (V) Desaturate Color
LightroomTut_MarApr08.indd 2 2/8/08 11:16:47 AM

Before After
Before beginning the black-and-white conversion, correct the color
and tone to bring the image to a “normal” starting point (and mini-
mize later exposure problems). With your image open in Lightoom,
press D to select the Develop module, then press W to choose
the White Balance tool. Click on an area of the image that should
be neutral. It’s best to choose something other than pure white:
Try something that’s off-white or gray. Next, adjust the Exposure,
Recovery, Fill Light, Blacks, Brightness, and Contrast sliders so that
the image looks good.
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How do you know if an image will look good in black and white?
Certain photographers have the gift of being able to identify good
tonal relationships and “see past the color.” But what about the
rest of us? Using Lightroom, it’s as simple as pressing the V key,
which will give you a quick black-and-white conversion based on
the Develop module Temperature and Tint sliders. Think of this as
a quick way to see past the color to determine the black-and-white
potential. Don’t expect this conversion to look amazing: Remember
it’s just a starting point!
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There are many reasons why I thoroughly enjoy using Lightroom, and near the top of my list is creating black-and-white
images. Although the majority of my work is in color, I’m constantly drawn to black-and-white photography because it
uniquely “…reduces, simplifies, goes deep, and gets beneath the surface,” as photographer Ryan Caldwell explains.
Let’s dive into the process of how to use Lightroom to create better black-and-white images.
LightroomTut_MarApr08.indd 1 2/8/08 11:16:23 AM
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Lens Vignetting is a critical step that many photographers overlook.
In Lightroom, Lens Vignetting allows to you darken or brighten the
corners and edges of an image. In the Develop module, open the
Lens Corrections panel. Under Lens Vignetting, move the Amount
slider to the left to darken corners or to the right to brighten
corners. Move the Midpoint slider to the left to apply the vignetting
adjustment to a larger area or to the right to limit the adjustment to
the corners.
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At this point, the image is looking much better but as a result of the
Luminance adjustments, the overall contrast and tone of the image
has become a bit muted. In the Develop module’s Basic panel, use
the Tone sliders to make any needed final adjustments. In our exam-
ple, we wanted to create a high-contrast image so we brightened
the image using Exposure, Fill Light, and Brightness while at the
same time increasing Contrast and Blacks, and slightly decreasing
Recovery. (Although these adjustments are subjective, I based them
on my knowledge of my printer and paper type.)
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When you convert a color image to black and white and make
significant tonal adjustments, you run the risk of adding noise—
although there’s a risk, oftentimes the risk is well worth the reward.
So, be on the lookout for noise. In this particular image, we
made substantial tonal adjustments to the sky, so that’s where
we need to look. Open the Detail panel in the Develop module.
Click on the warning (!) icon, which will zoom the image to 100%.
Examine the image and increase the Luminance slider to remove
any noise.
When you reduce the noise in an image, you simultaneously reduce
sharpness. Therefore, we’ll need to add some corrective sharpen-
ing while being careful not to exaggerate any noise. First, increase
Amount to adjust the overall intensity of the sharpening, then
modify Radius to adjust the size of the details that are sharpened.
On this image (as with most images), we’ll have a relatively low
Radius because the details are small. Next, modify the Detail slider,
using a lower setting to focus the sharpening on the edges. Finally,
increase the Masking to further limit the sharpening to the edges.
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continued on p. 60
Desaturate
Luminance adjustments
Basic adjustments
With noise reduction Without noise reduction
LightroomTut_MarApr08.indd 3 2/8/08 11:17:11 AM
Untitled-14 1 1/22/08 9:45:31 AM
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Chris Orwig, a photographer, book and video author, is on the faculty at the Brooks Institute of Photography in Santa Barbara, California. His publications include Adobe Photoshop CS3 100
How-Tos: 100 Essential Techniques (Peachpit Press) and a number of best-selling titles at Lynda.com. Check out his website at www.chrisorwig.com. Q S
After all of this work, it’s easy to overlook something, so I find it
invaluable to look away from the computer, stretch, blink a few
times, and then look back. Next, use one of the shortcuts to toggle
between the before and after view of the image. As mentioned
previously, try pressing the Backslash key (\) to toggle between the
before/after view of the entire image. But try pressing the Y key to
get a more interesting side-by-side view of the before/after image,
or Shift-Y to view a split view (as shown).
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Let’s make one final virtual copy so we can experiment with the
image even further in the next step. (I use virtual copies almost like
layers or history snapshots, as they allow me a certain amount of cre-
ative freedom.) Press the shortcut Command-’ (PC: Ctrl-’) to create a
virtual copy. Remember that when you create a virtual copy, it’s auto-
matically stacked with the master photo. To expand and collapse the
Stack in the Library module Grid view, press the S key.
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Many of the traditional black-and-white printing processes add a bit
of tone to the final print—there’s something compelling about a slightly
toned black-and-white image. Here’s how: Select the virtual copy
created in Step 12, then open the Split Toning panel in the Develop
module. Determine the color by moving the Hue slider, and the
intensity of the color by moving the Saturation slider. Try adding a mix
of color to the Highlights and Shadows. Finally, use the Balance slider
to fine-tune the strength of the Highlights/Shadows adjustments.
')
All images by Chris Orwig unless otherwise noted.
LightroomTut_MarApr08.indd 5 2/8/08 11:17:43 AM
Untitled-12 2 1/22/08 9:40:33 AM Untitled-12 1 1/22/08 9:39:57 AM
|)~a suurota r¡|)au, pou) z|
Reducing color noise is easier than reducing luminance noise.
In Camera Raw, the default is set to 25, so there’s always some
amount of color noise reduction applied. Generally this setting is
quite good—I only have to raise it on extremely noisy files.
In Photoshop, you can easily hide color noise with a copy layer
of the image that has been blurred: Duplicate the Background
layer (Command-J [PC: Ctrl-J]) and set its blend mode to Color.
Then blur the detail on the layer by choosing Filter>Blur>Gaussian
Blur. In the dialog, set the Radius to 5 and click OK.
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The Surface Blur filter blurs fine detail while maintaining well-defined
edges, making it quite useful for noise reduction. Here’s how: Make
a copy of the Background layer (Command-J [PC: Ctrl-J]) or, if
you’re using Photoshop CS3, apply the filter as a smart filter. Then
choose Filter>Blur>Surface Blur. The Radius slider determines how
much blur or softening will be applied and the Threshold slider
controls the number of tonal values that will be blurred.
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When used incorrectly, the Dust & Scratches Filter can be heavy-
handed and can turn a sharp image into an impressionistic mush.
But with a very light touch, it can help reduce the light speckles
found in a noise pattern. Choose Filter>Convert for Smart Filters
and then Filter>Noise>Dust & Scratches. Set the Radius to 1,
Threshold to 40, and click OK. A low Radius and high Threshold
are essential for preserving detail and texture in the image.
Start with a low Radius value of 3 or 5 and slowly increase the
Threshold slider to minimize the noise. Adjust the Radius and
Threshold until you arrive at a balance between the softening of the
luminance noise and the preservation of important details. Higher
Threshold values will cause more noticeable softening, blurring, and
in some cases, posterization. As a general rule, watch for image-
degrading artifacts if you raise the Threshold more than 10. Modify
as needed with layer opacity or layer masks. In this example, we
masked the blur effect on the fine details on the lamp.
Before
After Before After
Before After
PSTutPhotographers_MarApr08.indd 2 2/8/08 11:19:18 AM

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Noise is the bane of digital photographers. The best way to deal with noise is to try and avoid it in the first place.
But sometimes you’re faced with shooting in available darkness and the only way to get the shot is to crank up
the ISO. In this tutorial we’ll take a look at various techniques for dealing with noise.
One way to avoid noise, even if you’re forced to shoot with a high
ISO setting, is to make sure your shots are well exposed. Underex-
posed shots are much more likely to suffer from objectionable noise
than properly exposed images. Consider the images in this example:
Both were shot in low light at 3200 ISO, yet the one on the left is
underexposed and the noise levels are dramatically higher. Good
exposure matters. (Note: These files have been lightened in Camera
Raw to make the noise more visible for this comparison.)
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With a RAW file, the first step to reducing noise is in Camera Raw (or
Lightroom; both programs have the same noise-reduction capabili-
ties). The Detail tab (third icon from the left) contains two sliders for
noise reduction. Each addresses a different type of noise: luminance
noise and color or chrominance noise. Luminance noise is trickier
to reduce because it forms the visible noise structure. Reducing the
luminance noise is often a tradeoff between smoothing the noise
pattern while trying to preserve delicate details, but when carefully
applied to RAW images, it can produce a subtle improvement.
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[If you’d like to download the images used in this tutorial to practice these techniques, visit www.layersmagazine.com/downloads.html. All files are for practice purposes only.]
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Before After
PSTutPhotographers_MarApr08.indd 1 2/8/08 11:18:48 AM
Power Stroke
Power Stroke introduces a simple, interactive stroke-based interface to quickly
and intuitively perform targeted adjustments. Instead of meticulously select-
ing regions or hand-painting masks, regions of interest are isolated by drawing
a few simple strokes with adjustments then made only in those areas. Strokes
can be assigned multiple corrections and effects such as color correction, re-
coloring or desaturation, colorization of black and white images, blur, fill light
for dimly lit image areas and Diffusion/Glow. At long last, gestural selection and
image adjustment have been combined into one natural, fast and easy process.
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Digital Film Tools brings together the unbeatable combination of superior software designers, motion picture visual effects
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Available for Adobe® Photoshop® and Adobe After Effects®
Untitled-1.indd 1 1/21/08 4:36:18 PM
Seán Duggan is the co-author of The Creative Digital Darkroom and Photoshop Artistry. He teaches regular workshops on digital photography and Photoshop for Photographers.
Check out his photographs, as well as musings on digital imaging, at his photo blog, www.f1point4.blogs.com. Q S
Reduce Color Noise removes color noise mottling and does a very
good job of it, too. Try not to go above 50% or the colors may get
too desaturated. If you find that you need to use a value higher
than 50%, then consider adding a Hue/Saturation adjustment layer
after applying the filter to boost the color saturation a bit. Sharpen
Details at face value might seem to be a good thing but if you’re
not careful, this can cause nasty edge artifacts. It’s better to leave
this at 0 and apply input or capture sharpening after noise reduction.
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In Advanced mode (click on the button), you have access to the
individual color channels. This can be useful because in some files,
luminance noise is much more pronounced in the Blue channel.
By targeting specific channels, you can reduce the noise where it’s
causing the most problems. Keep in mind, however, that any set-
tings you apply in Advanced mode are applied in addition to any
that you’ve already made in the Basic mode.
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Although most people want to reduce noise, there are times
when it’s useful to add noise to an image. To do this in a flexible
way, choose Layer>New>Layer. In the dialog, set the mode to
Overlay and click the checkbox to fill the layer with 50% gray.
Click OK and choose Filter>Convert for Smart Filters. Then use
Filter>Noise>Add Noise to add the desired amount of noise. The
advantage of adding noise in this way is that it remains totally flex-
ible and can be modified with opacity or a layer mask.
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This filter is found under Filter>Noise>Reduce Noise. It offers
controls for minimizing both luminance and color noise, as well
as access to noise reduction on a per-channel basis, which can be
useful on some images. In the dialog, Strength controls how much
luminance noise is removed; and Preserve Details attempts to do
what it says, but on very noisy files it can be frustrating to find the
right balance. Work with both the Strength and Preserve Detail
sliders to find the setting that works best.
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Before After
Blue
Green
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PSTutPhotographers_MarApr08.indd 3 2/8/08 11:19:54 AM
To make the black lines thicker, go to the Filter menu, choose
Other>Minimum, and set the Radius to 1 (for higher resolution
images you may need to increase the Radius to 2 or 3). Click OK.
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To make the white areas see-through, double-click to the right of
the layer name in the Layers panel to open the Blending Options.
Go to the Blend If sliders at the bottom of the dialog and drag
the white triangle on the This Layer slider to the left. As soon as
you do, the white areas should become completely transparent.
Click OK to close the dialog.
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Now fine-tune the effect by using the Brush tool (B) to paint over
the areas with white where you don’t want to have any outlines.
Then, lower the Opacity of the outline layer in the Layers panel
and paint with black to add more detail to the outline where
needed (use a brush size that matches the width of your outline).
When you’re finished, return the Opacity to 100%.
Make sure the duplicate layer is active, and then from the Filter
menu, choose Blur>Smart Blur. Change the Mode to Edge Only,
the Quality to High, and adjust the Radius and Threshold to get
mostly outline details. (Generally, you’ll probably end up with a low
Radius and a Threshold in the 10–20 range.) Click OK to close the
dialog and press Command-I (PC: Ctrl-I) to invert the image.
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PSforDesignersTut_MarpApr08.indd 69 2/8/08 11:21:43 AM

This effect will work on all types of images, but may work best when
you have a main object you want to draw attention to. After opening
and sizing your image, press Command-J (PC: Ctrl-J) to duplicate the
Background layer.
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Some effects look best when applied to an entire photo, while other effects look best when used only in certain
areas. By nature, the filter used in this technique will affect the entire photo, but with a little (easy) work, you can
create an interesting outline effect on just part of your photo.
[If you’d like to download the image used in this tutorial to practice the technique, visit www.layersmagazine.com/downloads.html. This file is for practice purposes only.]
PSforDesignersTut_MarpApr08.indd 68 2/8/08 11:21:15 AM
When you’re faced with time limits, budget constraints or need creative content fast, let our templates
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1462 SL Mar Apr 08 Layers.qxd 1/22/08 10:30 AM Page 1
Untitled-1 1 1/29/08 3:44:10 PM
Dave Cross is Senior Developer, Education and Curriculum, for the National Association of Photoshop Professionals. He is the author of Photoshop Finishing Touches and The Photo-
shop CS2 Help Desk Book, and is featured on a series of Photoshop training DVDs. Q S
Q7::7B7O;HIJOB;S
If you want the outline to stand out, you can try adding other layer
styles such as a drop shadow (shown here), bevel and emboss,
inner shadow, etc. (Note: You can only add these styles if you com-
pleted Step 7.)
Use the Add a Layer Style pop-up menu at the bottom of the Layers
panel to add a Color Overlay. Click on the red color swatch to access
the Color Picker, choose a color, and click OK twice. (By using the
Color Overlay layer style, you can easily change the color by double-
clicking on Color Overlay in the Layers panel.)
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There are a couple of steps to change the color of the outline. First,
click on the Create a New Layer icon at the bottom of the Layers
panel. Drag this new layer below the outline layer. Click on the out-
line layer and press Command-E (PC: Ctrl-E) to merge the two layers
together (this will permanently change the white areas to transparent).
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If there are any areas where the outline effect is too strong (such as the
center of the flower in this example), add a layer mask by clicking on the
Add Layer Mask icon at the bottom of the Layers panel. Using black
as the Foreground color and a brush Opacity of 30–40%in the Options
Bar, paint over the areas where you want a less obvious outline.
PSforDesignersTut_MarpApr08.indd 70 2/8/08 11:22:14 AM
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Go into the Effect menu again but this time go under Photoshop
Effects to Texture and choose Texturizer. In the dialog, click the
small arrow to the right of the Texture pop-up menu and select
Load Texture.
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Go under the Window menu and select Appearance to open
the Appearance panel, where you’ll see all the properties and
effects applied to your shape. Click-and-drag the Fill item to
the Duplicate Selected Item icon at the bottom of the panel.
Now open the Transparency panel (Window>Transparency) and
change the blend mode of the duplicated fill item to Overlay.
This will enhance the color of the shape.
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Because this is a Photoshop filter, we have to look in the Photoshop
folder to find the texture, which is located in the Applications folder
(PC: Program Files folder). In the Adobe Photoshop CS3 folder
there’s a folder called Presets; inside this folder is the Textures
folder; then inside that folder, select the texture called Rust Flakes,
and click Load. In the Texturizer dialog, set the Scaling to 175%,
the Relief to 2, the Light direction to Top Right, and click OK.
Click once in the artboard with the Type tool (T) and type “South-
ern” using the Rockwell Extra Bold font at 60 points. Set the Fill
color to R:107, G:78, B:46 and the Stroke to R:127, G:94, B:64.
Click on the Selection tool and enter “2 in” in the Height field in
the Control panel (make sure it’s not linked to the Width field). Go
under the Effect menu and choose Warp>Arc Lower. Change the
Bend to –30% and click OK. Set another line of text (“Stylin’”) the
same way, using the Arc Upper warp instead, but still keeping it
set to –30% for the Bend.
IllustratorTut_MarApr08.indd 73 2/8/08 11:24:58 AM

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People tend to forget that Illustrator contains several Photoshop filters that can be applied directly to vector objects
inside Illustrator. Here we’ll use them to create a quasi-realistic leather patch logo complete with buttons and stitching.
As always, experiment with the settings as you go: You just might stumble onto a happy accident!
Select the Rectangle tool (M) from the Toolbox, then click once on
the artboard. In the dialog that appears, enter 6" for Width, 3" for
Height, and click OK. In the Color panel, set the Fill color to R:156,
G:123, B:83 and the Stroke to None.
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With the shape still selected, go under the Effect menu, under
Illustrator Effects, and choose Stylize>Inner Glow. In the dialog,
change the Mode to Multiply, then click the color swatch and
enter R:89, G:39, B:5 in the Color Picker, and click OK. Next,
change the Blur setting to 0.4 in, leave the Edge button checked
on, and click OK.
Q7FFBO?DD;H=BEMS
IllustratorTut_MarApr08.indd 72 2/8/08 11:24:35 AM
075.indd 1 2/1/08 3:20:16 PM
Select the Rectangle tool and draw a box that covers all but the
outer edges of the original rectangle. Set the Stroke to the same
light brown that we used in Step 1 and the Fill color to None. In
the Control panel, click on the word “Stroke” and in the dialog
that appears, set the Weight to 2 pt, click on the Round Cap icon
to the right (circled), check the Dashed Line box, set the Dash
option to 8 pt, and the Gap to 5 pt. Now open the Transparency
panel and change the blend mode to Multiply.
Q:KFB?97J;J>;IJHEA;S
With the stitching object still selected, copy it to the Clipboard by
pressing Command-C (PC: Ctrl-C), and then press Command-F (PC:
Ctrl-F) to place the object directly in front of the original. Change
the blend of this object to Color Dodge in the Transparency panel
and press the Left Arrow once and the Up Arrow once—this will
give the illusion of dimensional threading.
Q9H;7J;IJ?J9>?D=S
Select the Ellipse tool (L), hold Shift, and draw a small circle in
the upper-left corner over the stitching. In the Control panel, set
the Stroke to None, click on the Swatches panel, and choose
the Radial Gradient 2 (circled). Go under the Effect menu, under
Illustrator Effects, and choose Stylize>Inner Glow. Set the Mode
to Multiply, Opacity to 100%, and Blur to 0.04 in. Click OK. Then
access the same menu and choose Drop Shadow: Set the Mode
to Multiply, Opacity to 85%, and the X and Y Offsets to 0. Set the
Blur to 0.04, leave the color as black, and click OK.
Q9H;7J;J>;<?HIJ8KJJEDS
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Select both text objects and position them inside your textured
rectangular shape. Open the Transparency panel and change the
blend mode to Difference, which will dramatically change the look
of the text. Next, go under the Effect menu, under Illustrator Eff-
ects, and choose Stylize>Outer Glow. Set the Mode to Multiply;
click the color swatch and choose R:224, G:210, B:198; and then
set Opacity at 100% and Blur to 0.07 in. (Note: Multiply mode
usually affects darker colors but because the object is in Differ-
ence blend mode, it’s just the opposite.)
Q8B;D:J>;J;NJS
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continued on p. 76
IllustratorTut_MarApr08.indd 74 2/8/08 11:25:20 AM
077.indd 1 1/22/08 9:11:18 AM
Now we need a small ornamental shape between the words.
Choose the Spiral tool from the Toolbox (it’s under the Line Seg-
ment tool), hold the Shift key, and click-and-drag to the right to
draw the shape. Set the stroke Weight to 4 pt and the color to the
same light brown. Now select the Reflect tool (it’s grouped with
the Rotate tool). Double-click the tool icon to open the Reflect
dialog. Select Vertical, 90º Angle, and click Copy. This will create
a duplicate and flip it. Then just nudge the shape over to com-
plete the design.
Q<?D?I>?D=JEK9>S
Finally, change the blend mode to Multiply and apply the Outer Glow effect that we applied to the original text in Step 7. Then just place the
shapes in the center between the text. And there you have it!
You obviously don’t have to use the exact same text as we did—it’s the technique that’s important. So feel free to experiment with
the settings as you go along. You may discover something new and exciting.
Q7::EHD7C;DJ7BI>7F;S
With your initial button created, copy-and paste the object by press-
ing Command-C (PC: Ctrl-C) then Command-V (PC: Ctrl-V) three
times, and place one button in each of the corners of the shape.
Q:KFB?97J;7D:FB79;EJ>;H8KJJEDIS
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Corey Barker is an Education and Curriculum Developer for the National Association of Photoshop Professionals. His expertise in Adobe Photoshop and Adobe Illustrator has earned him
numerous awards in illustration, graphic design, and photography. Q S
IllustratorTut_MarApr08.indd 76 2/8/08 11:25:53 AM
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Kelby Training offers two simple ways to subscribe. Either way you get 24 hour a day access to everything.
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layers_swoosh_spread.indd 2 2/7/08 12:03:30 PM
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The fraction bar ( ⁄ ) isn’t the same as the common solidus, or slash ( / ).
For one thing, a fraction bar rests on the baseline (except in a handful
of faces), so it bottom-aligns with the fraction’s denominator; however,
a solidus extends below the baseline, where it typically bottom-aligns
with a typeface’s descending characters. Another important aspect
of the fraction bar is that it has special kerning characteristics so that
numerators and denominators snuggle up against it more closely than
they would with a solidus.
Finding the fraction bar on the Mac is easy, as it’s always been
a part of the basic Mac character set: You’ll find it at Shift-Option-1.
If you’re using Windows, it’s easier to find it using the Windows
Character Map than using the Glyphs panel in InDesign or Illustrator,
where you can’t search for a character by name, Unicode number,
or glyph ID number. Nor do Adobe programs allow you to use
a glyph’s Unicode number (in this case U+2044) to key in a code
sequence to access a glyph. In the Windows Character Map (Start/
All Programs), just type “fraction bar” in the Find field and the
program will find it for you. Double-click the fraction bar to select
it, click the Copy button, and then back in your program, paste it
where you want it.
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STEP ONE: To make a fraction in InDesign or
Illustrator, first type the numerator, fraction bar,
and denominator in a series without spaces.
STEP TWO: Drag a ruler guide down to
top-align with the fraction bar. Now select
the numerator and reduce its size to 60% of
the size of the surrounding text (type “60%” in
the Font Size field of the Character panel, and
InDesign will do the math for you). Nudge it
upward with the Baseline Shift control tool (in
the Character panel) until the top of the numer ator
touches the ruler guide.
STEP THREE: Now scale the denominator to the
same size.

STEP FOUR: At this point you’re close, but you’ll
probably have to kern both the numerator and
denominator a bit nearer to the fraction bar. Do this
using your keyboard controls: Option-Right/Left
Arrow (PC: Alt-Right/Left Arrow).
STEP FIVE: If you’re doing this in a magnified view
(Zoom), it’s easy to overkern. Remember that in text
size, the numeral in a fraction is going to be very
small—6 or 7 points—so print a proof to make sure
that in kerning you haven’t crowded it too much
against the fraction bar. Here’s our finished fraction.
James Felici is the author of The Complete Manual of Typography (Adobe Press), former managing editor of Publish magazine, and contributor to The Seybold Report, Macworld
magazine, PDFZone.com, and Publish.com.
[ ]
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To save this work for later use in InDesign, select the fraction and
choose Export from the File menu. In the Export dialog, select
Adobe InDesign Tagged Text from the Format (PC: Type) pop-up
menu, give the file a name you’ll recognize, such as “one eighth,”
and click the Save button.
Later, when you need it, you can use the Place command to
bring this file back into a page, where it will appear in the correct
fraction format. At that point, you can change the numerator and
denominator as needed. (InDesign really needs a Library for saving
complexly formatted text elements for future use.)
To save your fractions for later use when working in Illustrator,
build them in a special file, from which you can cut-and-paste them
into future documents—hardly an ideal system, but it works.
Note: When recycling fractions this way, if you change the type-
face you’ll probably have to do some base-alignment and kerning
tweaking. The sizes, though, should be okay unless the face you
choose is bold or very light.
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There’s a faster way to make fractions with InDesign but it requires
a little “bridge burning” by changing the specifications for how
superscripts and subscripts are set. There’s not too much use of the
latter (unless you write about CO
2
, for example), but superscripts are
commonly used for footnotes.
If you don’t use either super- or subscripts, however, here’s the
fix: Go to the Preferences>Advanced Type dialog and change the
Size for both Superscript and Subscript to 60%. Now change the
Position for Superscripts to 28% and for Subscripts to 1%. Click OK
and from then on, you can just select a would-be fraction’s numeral,
and in the Control panel, click on the Superscript or Subscript button
to convert them to a numerator or denominator. Remember though
that you’ll still have to tweak the kerning.
One problem with building your own fractions is that scaling down
the numerals makes them a bit too light. Numerals intended for use
in fractions—as in most piece fractions built into a font, or those used
in OpenType Pro fonts—are made slightly bolder to make themmore
legible and more in harmony with the type around them. If you
happen to be using a typeface family with a semibold weight, you
might try using that weight for fractions within regular-weight type.
Sometimes these appear a bit too bold, but often they’re preferable
to fractions that are too wispy.
ArtofTypeMarAprb08.indd 3 2/8/08 10:52:45 AM
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Back in third grade, Mrs. Ditzel taught us fractions.
So nearly 50 years later, I ask myself why Adobe
programs have such a hard time coping with this
third-grade issue. Sure, if you happen to be using
one of the few score OpenType Pro fonts on the market, your pro-
grams can build fractions automatically at the press of a button. But
what if you’re using one of the other 30,000 or 40,000 non-Pro fonts
out there? Read on.
The vast majority of PostScript Type 1, TrueType, and Open-
Type (non-Pro) fonts don’t contain the numerator and denominator
glyphs needed to make fractions. To make professional-looking
fractions using these fonts, you have to scale and then position the
numerals manually.
Virtually all fonts, though, contain three prebuilt—or piece—
fractions: ¼, ½, and ¾. These consist of a numerator and denomina-
tor that are scaled to about 60% of the size of regular numerals, and
they flank a special character called a fraction bar. On a Windows
PC, you can access them by holding down the Alt key while typing
their ANSI encoding numbers: 0188 (¼), 0189 (½), or 0190 (¾).
Apple never saw the wisdom of including these fractions in the basic
Mac encoding scheme, so there’s no keyboard access for them on
the Mac. You have to fetch them using OS X’s Character Palette
(Edit>Special Characters) or an Adobe program’s Glyphs panel.
These piece fractions are a great convenience if they’re the only
ones you’ll be using in a document. But if you need others as well,
you’ll often find that it’s hard to get them to look the same, as you
can see below. The Times fractions on top are almost identical
but the Univers 55 piece fraction is noticeably bolder than its built
equivalent, which is commonly the case.
If you have to use any of these piece fractions together with
others, you’re often better building them all from scratch. That
sounds worse than it is…because after you’ve built the first one for
any particular typeface and point size, you can use it as a template
to build others in a jiffy.
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You could create the rest of your fields and then start drawing the
lines where people will fill in their information; however, if you ever
need to make changes such as font and font size, then you’ll have
to move your lines too. That’s why were going to use leader tabs
instead. Bring up your Tabs ruler by choosing Tabs from the Type
menu. By default the Tabs ruler magnetically sticks to the top of
your text frame. This will help you line up your tabs.
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Now that you’ve inserted your tab, the next thing you have to do
is give it a leader of an underscore character (_). So with the tab
you just placed still selected, click in the Leader field on the Tabs
ruler and key in an underscore character (Shift-Hyphen). Now click
back into your text frame after the word “Name” and press the
Tab key on your keyboard. You should see an underline from the
word “Name” to your tab stop. Hit Return (PC: Enter) twice to
skip a line.
Since the Name field is going to take up the entire top line, we’re
going to set our tab at the far right. Select a Right-Justified Tab
(the third icon from the left) in the Tabs ruler and click just above
the ruler at the 3.75" mark. Don’t worry if you don’t click in the
exact correct position because you can move the tab afterwards.
Key in the word “Address” and press the Tab key to create the
underline. The next line gets a little more complicated because we
need to set both tabs and leader tabs for multiple fields. Use Left-
Justified Tabs (the first icon) for the field names and Right-Justified
Tabs for the leader lines. Set the “City” leader tab at 2"; set the
tab for “ST” at 2.15" and its leader tab at 2.75"; and set the tab for
“Zip” at 2.85" and use the existing leader tab at 3.75". Don’t forget
to add the underscores for the leader tabs.
IndesignTut_FebMar08.indd 83 2/8/08 10:55:03 AM
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Either create a new InDesign document or open an existing docu-
ment and navigate to a blank page or blank area of a page so that
you can create a text frame. In this example, we’re going to create
a magazine subscription card, so create a 4x3" text frame using the
Type tool (T). To make it exactly 4x3", select the text frame after you
create it and key in those measurements in the Control panel.
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At this point we need to key in the name for our first field. For this
example, type in the word “Name” in the text frame. You’ll be
tempted to jump ahead and start creating all the other fields and
I commend you for your eagerness, but you might want to read the
next step first.
QA;O?DOEKH<?HIJ<?;B:D7C;S
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It kills me when someone sends me a form in Microsoft Word and he or she expects me to fill it out on my com-
puter. Of course, the minute I go to type, everything starts to move around. So let’s learn the right way to build a
form in InDesign (with a cameo appearance of Acrobat to make it fillable).
IndesignTut_FebMar08.indd 82 2/8/08 10:54:27 AM
085.indd 1 2/1/08 3:30:58 PM
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Our form fields are done. Now let’s lock it down and create a new
layer for the rest of the subscription card layout elements. Bring
up your Layers panel. Hold down the Option key (PC: Alt key) and
click the Create New Layer icon at the bottom of the panel. This will
allow you to create a new layer and name it all at the same time (we
named ours “Graphics”). Double-click the name of the original layer
and rename it “Form.” Then click the little box to the right of the
Eye icon to lock the Form layer.
Q9H;7J;7D;MB7O;HS
The next field that we want is Email. In order to get back to one
long leader tab, remove the extra tabs from only that line by
simply dragging them off the Tabs ruler. Next, let’s create some
radio buttons. On the next line, type “New Subscriber” and
“Renewal.” (Now that you got the hang of tabs, you’ll probably
want to create tabs for these two words to give you room for the
radio buttons.) Use the Ellipse tool (L) while holding the Shift key
to create circles in front of each word.
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.
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At this point you can place other text and graphics on your page.
Be sure not to cover up any part of your form’s text or lines. After
your design is complete, go to the Adobe PDF Presets under
the File menu and choose Smallest File Size (or the one that best
meets your needs) to export this InDesign document as a PDF.
Be sure that View PDF after Exporting is checked in the dialog.
This is where the magic happens. Choose Run FormField Recognition
fromthe Forms menu in Acrobat 8 Professional. This should create
formfields over your existing lines and circles. Click the Highlight
Fields button to make sure the fields were recognized. Anyone can
now type into this formwith Adobe Reader or the full version of
Acrobat. So now you can send a formthat’s actually usable. [For an
in-depth look at creating and editing forms in Acrobat, check out
“Getting into Form, Part 1,” Layers magazine, Jan/Feb 2008, p. 76,
and “Getting into Form, Part 2” on p. 86 of this issue.—Ed.]
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In his current role as Director for North America Creative Pro Core Business for Adobe Systems, Inc., Terry White leads a team of creative professional product specialists. He’s also the
author of Secrets of Adobe Bridge and co-author of InDesign CS/CS2 Killer Tips and The iPhone Book. Q S
IndesignTut_FebMar08.indd 84 2/8/08 11:26:29 AM
Q9H;7J;OEKhB?IJS
Click on the Combo Box tool (third from the left on the toolbar).
Drag your cursor over the area to the right of the State/Province
entry in the form and a Combo Box field is placed on the form.
The Combo Box Properties dialog appears (see Step 4).
Note: Whenever you create a new custom form field, a proper-
ties dialog like this will appear. Its content will vary depending
upon the type of form field created.
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Next, click on the Appearance tab and click on either the Border
Color swatch or Fill Color swatch to choose a color, or No Color. If
you assign a border color, then configure the Line Thickness and
Line Style to control the border’s appearance. Under Text, assign
a Font, Font Size, and Text Color. Tip: Keep it simple; for example,
sans-serif fonts display more legibly onscreen, particularly at small
point sizes.
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Click on the General tab. Type in a name for this field—for exam-
ple, State/Province. Next, type in a Tooltip that you want to appear
when a user rolls his or her mouse over this field. In our example,
we used “Tab to or click on this field to select a state/province.”
Click on the Form Field menu and choose your preferred option—
we selected Visible. If you want this to be a required field, check
the Required box. To make sure the list of choices will be available,
be sure Read Only is not checked.
Click the Options tab and type in the name of a state/province in
the Item field, then click Add to add this choice to the Item List.
Repeat this for each list entry you want. You can assign an Export
value to each item, typically an alpha/numeric value, if you want to
track statistics on this field. For our example, we want to know how
many form fillers were from Alabama. Check the Sort Items box to
automatically sort the list alphabetically and turn on the Commit
Selected Value Immediately box to prevent multiple selections.
AcrobatTut_MarApr08.indd 2 2/8/08 11:27:44 AM

Acrobat 8 allows you to create eight varieties of custom fields in
your form. Activate the Forms toolbar (Tools>Forms>Show Forms
Toolbar), which contains all the tools you need to edit, preview,
and distribute your PDF forms. The toolbar’s left side contains eight
tools: Button, Checkbox, Combo Box, List Box, Radio Button, Text
Field, Digital Signature, and a Barcode. The right side contains the
Edit Layout/Preview (depending on the current state of your form),
and Distribute tools.
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Open a copy of the form you want to edit (we’re using the form
we created in Part 1, Layers magazine, Jan/Feb 2008, p. 76). Click
on the Edit Layout tool (all the fields are highlighted with corner
and side control points). To activate a field, roll your mouse over
the field. To resize the field, click-and-drag on any corner or side
control point. In our example, we’re going to click on the State/
Province field and then press Delete to remove this field. We’re
going to replace this with a Combo Box containing a list of states
and provinces.
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PDF forms can be edited easily in Acrobat 8, including adding eight types of custom form fields. Once you have
your form just the way you want, you can distribute and track it, then when the completed form is returned, you
can also use Acrobat 8 to collect, compile, and review your form’s data.
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AcrobatTut_MarApr08.indd 1 2/8/08 11:27:18 AM
Untitled-4.indd 1 1/22/08 9:08:17 AM
When either/or items need to be created, such as Payment Method
in our example, use radio buttons. For multiple choices, check-
boxes are appropriate. During our automatic forms creation process
in Part 1, Acrobat automatically recognized our Payment Method
checkboxes and replaced them with Acrobat forms checkboxes.
Because this is an either/or option, we need to replace the boxes
with radio buttons. Click on the Edit Layout tool, select the Check
and Credit Card checkboxes, and delete them.
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Close your Combo Box Properties dialog to apply all your settings.
Now select the Hand tool and either tab or click on your newly cre-
ated State/Province combo box. Click on the down-facing arrow to
the right of the first item, then use your Up and Down Arrow keys
(or the alpha keys) to navigate the list. Press the Return (PC: Enter)
key to apply your list choice.
QJ;IJOEKH9EC8E8ENS
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Select the Radio Button tool, then click-and-drag over the Check
checkbox, and the Radio Button Properties dialog appears. Under
the General tab, type “Payment Checkbox” in the Name field and
“Click here to select payment by check” in the Tooltip field, and
turn on the Required checkbox. Next, click on the Options tab and
select Check fromthe Button Style menu. Now type “A” in the Export
Value field, and Close the dialog to create the Radio Button.
Press the Option (PC: Alt) key as you drag the Check Radio Button
over the top of the Credit Card checkbox, making a duplicate copy.
Double-click on this new button and under General, keep the same
Name “Payment Checkbox” but for Tooltip, type in “Click here to
select payment by credit card via PayPal.” Click on the Options tab
and type “B” in the Export Value field—by having the same name
but different export values, users may check only one of these
boxes. Also check the Button Is Checked By Default box to make
this the default.
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continued on p. 90
AcrobatTut_MarApr08.indd 3 2/8/08 11:28:23 AM
COMING TO ORLANDO, FL. APRIL 2-4, 2008
PHOTOSHOP WORLD IS THE OFFICIAL CONVENTION OF THE
NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS
Mark Your Calendar! The world’s largest Adobe
®
Photoshop
®
educational event, featuring
the latest Photoshop CS3 training and an expanded 3-day tech expo is coming
to Orlando, Florida!Photographers, graphic designers, Web developers, educators, art
directors, students, and Photoshop fanatics — this is the conference you don’t
want to miss in 2008!
0rsaee 0eaat¡ 0eateat|ea 0eater · âar|| 2·1. 2êê8
Photoshop
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Adobe, the Adobe logo, and Photoshop are registered trademarks of Adobe Photoshop Incorporated.
Register Today! Call 800.738.8513
or visit online www.photoshopworld.com
PSW_4PgAd_Orlando_0208.indd 1 2/5/08 11:19:34 AM
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After you’ve clicked the Close button to create your Credit Card
Radio button, select the Hand tool. Click on the Check Card
checkbox and then click on the Credit Card checkbox. When you
click on the Credit Card checkbox, the Check checkbox should
automatically uncheck. If this doesn’t happen, return to the Edit
Layout mode and check the properties of both radio buttons to
make sure they have the same Name (Payment Checkbox) but
different Export values (A and B).
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Click on the Edit Layout tool. Choose Forms>Edit Fields>Set Tab
Order. You’ll get a message asking if Acrobat should set the tab
order for you. Click No, and each data entry field will be labeled
in the upper left with a tab order number. Note the Name field,
should be #1, but it’s labeled 3 because of the two extra fields
at the top created by the Auto Form Field Recognition in Part 1
(delete these at any time). To set the tab order, simply click the
form fields in the order you want them to be activated.
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Select the Hand tool again, click on the Name field, and tab through
the fields to make sure they’re in the order that you want. The tab
order should finish up at the Submit button. If you haven’t removed
the two extra auto-created tab fields, keep tabbing to find them.
Return to the Edit Layout tool to select and delete them.
If you’re manually creating form fields with two or more identical
fields, try this timesaver: Create your first field (ours is a Text
field), then in Preview mode, select Forms>Edit Fields>Place
Multiple Fields. In the Create Multiple Copies of Fields dialog,
specify the Number of Fields, Overall Size, and Overall Position
for the multiple fields you wish to create. Check the Preview
checkbox to preview the setting results prior to clicking OK.
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Taz Tally is the author of Acrobat and PDF Solutions from Wiley Press, as well as numerous other digital imaging books on Photoshop, scanning, digital photography, and prepress.
Visit Taz’s websites www.taztallyphotography.com and www.tazseminars.com. Q S
AcrobatTut_MarApr08.indd 5 2/8/08 11:29:05 AM
Pre-ConWorkshops: Tuesday, April 1
Take part in any of 12 elective work-
shops held prior to the conference.
Separate registry and fee required; a
full listing of pre-con classes is available
at www.photoshopworld.com/work-
shops.html.
OpeningKeynote: Wednesday, April 2
Entertaining and full of surprises, the
opening keynote is not to be missed!
Past keynotes have introduced Light-
room
®
and Photoshop Extended
®

what revelations await you this year?
Tech Expo: Wednesday, April 2;
Thursday, April 3 &Friday, April 4
For three days, check out the newest
plug-ins, digital cameras, scanners,
printers, imaging software, hardware,
storage devices, and more fromsome
of the biggest names in the industry.
Portfolio Reviews: Wednesday, April 2
Get invaluable feedback fromPhoto-
shop
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World instructors at this once-in-
a-lifetime opportunity. Availability is on
a rst-come, rst-served basis during
the rst day of the Tech Expo.
PhotoshopWorld After-Hours
Party: Wednesday, April 2
Don’t miss your chance to mix with
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a night of food, fun, and music. Tickets
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Art of Digital Photography:
Thursday, April 3
Gain inspiration fromeight of themost
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why they create their inspiring images
at this interactive panel discussion.
Midnight Madness: Thursday, April 3
That’s right…time to kick back and cut
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For a complete class schedule go to
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Photoshop World Conference & Expo –
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Join us for the ultimate Photoshop and digital
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CONFERENCE HIGHLIGHTS
Learn how Photoshop
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Find out how applications like InDesign
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Discover howspecial digital photography tricks and
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Open your mind and discover how simple Photoshop tech-
niques can transform ordinary images into a works of art.
ADOBE
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CREATIVE SUITE
PHOTOSHOP
®
&
DIGITAL PHOTOGRAPHY
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This three-day track – featuring Dave Cross, Fay Sirkis, and
Bert Monroy – will inspire your creativity and imagination.
Learn the eye-catching graphic design tricks and tech-
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Choose fromve sessions that delve into advanced techniques
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Work faster and smarter with tips and tricks from such
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Get better pictures and a faster workow with classes by
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Join Dan Margulis as he shares tips for making the entire
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PRODUCTIVITY
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®

PRINT/PRE-PRESS
CONFERENCE TRACKS AT-A-GLANCE
The overall class schedule allows you to customize your curriculum by attending any
session, in any track, and move between them as you see t.
Adobe, Photoshop, Lightroom, InDesign, Bridge, Flash, and Dreamweaver are registered trademarks of Adobe Systems Incorporated.
PSW_4PgAd_Orlando_0208.indd 3 2/5/08 11:21:51 AM
® ®
Photoshop
®
World
®
Prepare yourself for three extraordinary days of Photoshop, photography,
digital media, and graphic design training like nothing you’ve ever encoun-
tered before…
Come Face to Face With
The Future of Photoshop
®
Photoshop World Conference & Expo –
The Ultimate Adobe Photoshop Experience
Join us for the ultimate Photoshop and digital
imaging experience…
Scott Kelby
Dave Cross
Bert Monroy
Matt Kloskowski
Jay Maisel
Moose Peterson
Vincent Versace
Joe McNally
Terry White
Ben Willmore
Taz Tally
Eddie Tapp
JohnPaul Caponigro
Deke McClelland
Felix Nelson
Rod Harlan
Jim DiVitale
Kevin Ames
Fay Sirkis
Jack Davis
David Ziser
Helene Glassman
Rich Harrington
Lesa Snider-King
Chris Orwig
Peter Bauer
Je Schewe
Frank Cricchio
Joe Glyda
Dan Margulis
Jack Reznicki
Tim Grey
Andrew Rodney
Laurie Excell
Corey Barker
Stephen Johnson
Rafael Concepcion
Edward Greenberg
Jason Scrivner
I NSTRUCTOR ROSTER
04.2-4.08
- More than l00 ln-depth lnstructlonal
sessions taught by an all-star team of
industry legends.
- Outrageous after-hours partles and
events where you can mingle with
your peers, as well as conference
instructors.
- The latest products and cuttlngedge
technologies at the 3-day Tech Expo
– a Photoshop World rst!
- Speclalty classes and workshops
hosted by Photoshop World spon-
sors like Adobe, Kelby Training,
and Microsoft.
Additionally, all conference attendees receive the Photoshop World workbook:
a massive compilation of notes, tips, tutorials, and step-by-step instructions for almost
every class and instructor at the conference in one easy-to-reference volume.
All classes, class materials, and instructors are subject to change without notice.
PSW_4PgAd_Orlando_0208.indd 2 2/5/08 11:20:33 AM
! beejoh!gmbti!gjmft!up!b!xfcqbhf
Dreamweaver can insert Flash video (FLV) files, as well as Flash files with the SWF extension. In the last issue,
I used Dreamweaver to add Flash video to a webpage; this time, you’ll learn how to insert Flash files with the
SWF extension. The process is similar to inserting an image file, but Dreamweaver has more settings for Flash.
For this tutorial, we assume that you already have a completed
Flash file (in SWF format) and you want to add it to your webpage
using Dreamweaver. To create a Flash file, like the Turtle Puzzle
game we’re using, you’ll need Adobe Flash or a similar program
that supports the Flash format. Because Flash is an open standard,
you can create Flash files with a variety of programs, including
Adobe Photoshop Elements, which uses the Flash format to save
automatically generated Web galleries.
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DreamweaverTutMarApr08.indd 95 2/8/08 12:46:46 PM
To Register Call 800.738.8513
or Visit www.photoshopworld.com
Copyright © 2008 National Association of Photoshop Professionals – all rights reserved. Adobe, the Adobe logo, and Photoshop are registered trademarks of Adobe Systems Incorpo-
rated. All other company names, logos, and trademarks are the property of their respective holders.
Photoshop
®
World
THE PEABODY ORLANDO HOTEL
9801 International Drive
Orlando, Florida 32819
(800) 732-2639
www.peabodyorlando.com
Located next door to the Orange
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Hotel oers Photoshop World at-
tendees an atmosphere of relaxed
elegance, luxury, and hospitality.
THE ROSEN PLAZA HOTEL
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Orlando, Florida 32819
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Located adjacent to the
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attendees resort-style luxury
and beautiful accomodations.

For a full listing of hotel amenities, room rates, rules, regulations, and cut-o dates, visit www.photo-
shopworld.com/map.html. All room rates listed are quotes exclusive of appropriate state and local taxes.
We have arranged special room rates for attendees at our two o cial host hotels – the Peabody Hotel and
the Rosen Plaza Hotel. Please identify yourself as a Photoshop World attendee when reserving your room.
Upgrade to a Pro Pass and get a hold of the coolest PhotoshopWorld gear
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tPhotoshopWorld Party Ticket: This special ticket
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tO cial Conference Attaché: Stay organized and on-
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tBadge Holder: This billfold-style carryall stores your
money, keys, and business cards while displaying
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t Exclusive Photoshop
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Keep hydrated with a
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tNotebook & Pen Combo:
Take notes and keep track
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tExtra PhotoshopWorld Workbook: On the last
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PSW_4PgAd_Orlando_0208.indd 4 2/5/08 11:23:30 AM
Dreamweaver displays Flash as a solid, gray box with the dimensions
of the Flash file. Click on the gray box to display the Flash options in
the Property inspector at the bottom of the workspace. As you’ll learn
in the following steps, you can use these options to alter the size of
the Flash file and the way it’s displayed on your page. Clicking the
Edit button will open the file in the Flash program (if you have the
program on your hard drive).
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When the Play button is clicked, all the features of a Flash file are
activated using the Flash Player, just as they would if the file were
displayed in a Web browser. As you can see here, we’re testing this
Flash puzzle game by clicking-and-dragging to move the pieces
into place.
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If you have accessibility options turned on, you’ll be prompted
to add alternative text. Enter a short text description of the Flash
file. Use the Access Key and Tab Index options in the Object Tag
Accessibility Attributes dialog to include a key command to start
or control the Flash file if you want to provide an alternative to
those with accessibility challenges. Click OK to close the dialog
and the Flash file is inserted into your page.
Click on the Play button in the Property inspector to play the Flash
file. In this example, the Flash file is a puzzle game so clicking the
Play button displays the game options and images. (Note: When the
Play button has been activated, the button text changes to Stop.)
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DreamweaverTutMarApr08.indd 97 2/8/08 12:47:54 PM
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In the Select File dialog, browse your drive to locate the Flash file
that you want to insert in your page and double-click on the file to
select it.
Click to insert the cursor where you want the Flash file to appear on
your webpage and choose Insert>Media>Flash. Alternatively, you
can use the Insert Media button from the Common Insert bar at the
top of the Dreamweaver workspace.
Before you start, move or save the Flash file into your root site
folder. If you prefer, you can create a subfolder to store your Flash
files. If you’re not sure what a root folder is or how to define a root
folder in Dreamweaver, refer to my online tutorial, “Defining a Site
in Dreamweaver,” at www.layersmagazine.com. Defining a site
enables you to manage files and folders without breaking links
using Dreamweaver’s Files panel (shown here).
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To add a Flash file to a webpage, open an existing page or
create a new document by choosing File>New and specifying
the file type in the New Document dialog. In this example, we’re
creating a new page from a Dreamweaver template. You can
add a Flash file to any webpage. In any case, it’s always good
practice to save a new page before inserting a Flash file.
DreamweaverTutMarApr08.indd 96 2/8/08 12:47:22 PM
Freeway is a web design tool that allows users to
create even the most sophisticated sites without
coding… and the code that Freeway produces is
clean, efficient and always standards compliant.
Freeway is desktop publishing for the web—you
simply draw boxes and add text, graphics, video,
audio, Flash or other rich content. It is easy
enough for home users, yet powerful enough for
professionals. Full of features to simplify and au-
tomate regular web creation processes, Freeway
also has a wide range of features that no other
product offers.
If you have a Mac and want to express yourself
on the Web—you need Freeway.
Test drive the future of web design. Download
Freeway 5 from www.softpress.com today.
Get a glimpse of the future
Quality software since 1993
YOU BUILD THE WEBSITE. WE’LL HANDLE THE CODE.
Copyright ©1997–2008 Softpress Systems Limited. Freeway and Softpress are trademarks of Softpress Systems Limited, registered in some countries.
Other product names are the property of their respective owners.
freeway shop
Leopard ready
Freeway Pro and Freeway Express are Universal, Leopard-ready and include a fully integrated, easy to set-up e-commerce solution—for free.
softpress_layers_full_012108.indd 1 1/21/08 8:49:07 PM
Untitled-13 1 1/22/08 9:43:13 AM
When you insert a Flash file as we did in this tutorial, Dreamweaver
automatically creates a script file to accompany it and saves it in a
folder, appropriately called “Scripts.” Make sure to upload the entire
Scripts folder when you publish your Flash file and webpage to your
server or it may not display properly.
It’s always good practice to preview your work in a Web browser after
you upload it. You can also preview your pages in a browser on your
local hard drive. And here’s a tip: When you preview a page with a
Flash file and the JavaScript locally, Internet Explorer treats the script
as a potential threat on your hard drive and prompts you with a secu-
rity warning in the Information Bar. This shouldn’t happen when the
page is published and viewed online in Internet Explorer, and Firefox
(shown here) doesn’t use a security prompt with Flash.
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You can make a number of adjustments to the way a Flash file dis-
plays by changing the settings in the Property inspector. Check the
Loop box to set the file to replay continuously; uncheck the box if
you want the file to play only once. Checking on the Autoplay box
causes the file to begin to play as soon as the page is loaded into
a browser.
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Change the Scale setting to specify if the Flash file will have a border.
Use the Quality setting to control the file quality that will be displayed.
Note: The higher the quality, the longer it will take to download.
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Janine Warner has authored a dozen books about the Internet, including Dreamweaver CS3 for Dummies. She’s also the host of the award-winning video Total Training for
Dreamweaver 8 and CS3. A popular speaker, she has been teaching Web design since 1995 (www.JCWarner.com). Q S
DreamweaverTutMarApr08.indd 98 2/8/08 12:48:19 PM
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Flash CS3 comes with a whole library of premade buttons for you
to use in your Flash projects. (To be honest, most of them look
pretty cheesy but there are a few gems.) Choose Buttons from
the Window>Common Libraries menu. This opens a Library panel
containing folders of button symbols. Double-click on the Classic
Buttons folder and then the Arcade Buttons folder. With the first
keyframe in the button layer selected, click-and-drag the Arcade
Button – Red onto the Stage. With it still selected, give it an Instance
Name of button in the Property inspector.
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To create the playSound function, on line 3 of the Actions panel,
enter the code shown here. The code on line 5 outputs a string to
the Output panel using the trace function. This function is commonly
used for debugging purposes. Press Command-Return (PC: Ctrl-Enter)
to test your movie. Every time you click on the button you should see
the string, “It was clicked,” added to the Output panel.
Now it’s time to start writing the ActionScript 3 code. Select the
first keyframe in the actions layer and press Option-F9 (PC: Alt-F9)
to open the Actions panel. The first piece of code that you need
to write is to set up the listener for the button’s click event. Add
the code as shown here. This code essentially tells the button that
whenever it’s clicked on, it should call a function called playSound.
You’ll be creating this function in the next step.
The first order of business anytime you create a new Flash movie
should be to set up the layer structure for your movie. It’s much
better to be organized from the beginning, rather than having
to clean up a disorganized Timeline. Rename the first layer to
actions and lock it. Whenever you write ActionScript, it’s impor-
tant to keep it on its own layer to have an organized movie. Click
the Insert Layer icon to create a new layer above that and name it
button. Create another layer above that and name it textfield.
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FlashTut_MarApr08.indd 101 2/8/08 11:43:53 AM

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[If you’d like to download the four MP3 files to randomly play inside your Flash movie (as well as preview the final effect), visit http://layersmagazine.com/downloads.html. All files are for personal use only.]
tpvoejoh!sboepn
It’s quite rare to come across a Flash site that doesn’t incorporate sound in one way or another, so it’s an important
skill to learn. This tutorial will walk you through how to build a simple random sound machine using ActionScript 3.
This version of the ActionScript language is more advanced and is now the de facto standard for professional
Flash work.
After downloading the four MP3 files fromthe Layers website, open
Flash CS3 and create a new Flash File (ActionScript 3.0) document
from the Welcome screen. Save this document as sound.fla into the
same directory as the MP3 files. In the Property inspector, set the
Background color of your movie to black and change the Frame
Rate to 24 fps.
FlashTut_MarApr08.indd 100 2/8/08 5:37:22 PM
Lee Brimelow is a Platform Evangelist with Adobe and is an award-winning interactive designer. Lee runs the free tutorial site at www.gotoandlearn.com and a Flash-related blog at
www.theflashblog.com. He is also the author of several titles for Lynda.com dealing with Flash and After Effects. Q S
Select the first keyframe in the actions layer and open the Actions
panel. Add the code shown above on line 6. This code creates a new
Number object named “num.” The Math.ceil function takes whatever
number you send to it and rounds it up to the nearest integer. The
number you’re sending to it is the product of the Math.random
function, which returns a random number between 0 and 1, and the
number 4. This will always return a random integer between 1 and 4,
which works perfectly for this example.
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Now that you’ve generated the random number, the next step is to
populate the textfield on the Stage with that number. Add the code
shown above to line 7 of the Actions panel. Here you’re setting the
text property of the textfield to be equal to the random number that
you generated in the last step. This is a Number object, however, and
the text property can only accept String values. To overcome this,
you need to call the toString method of the Number object, which
converts it into a String value.
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Now you need to load the random sound file. Add the code shown
here to the Actions panel on line 8 to create a new String object
named path. You first assign it the string “sound” and then add to
it the text currently displayed in the textfield, which is the random
number. You add strings together using the + operator. Finally, you
add the string “.mp3” to complete the path. On line 9, you pass
the newly generated path to the Sound object replacing the hard-
coded string.
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Hit Command-Return (PC: Ctrl-Enter) to test your finished movie. When-
ever you click on the button you should hear a randomsound and also
see the number displayed in the textfield. This example may seem a
little useless, but we’ve covered a lot of really useful ActionScript 3 code
dealing with sound and numbers. The use of random numbers forms
the backbone of all computer games, not just ones built in Flash. Using
randomnumbers for things like sound and animation also ensures that
things will be different every time the user sees your movie.
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FlashTut_MarApr08.indd 103 2/8/08 11:45:02 AM
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Select the first keyframe in the textfield layer and hit the T key to
select the Text tool. Click on the Stage to create a new textfield and
enter the number 4. This textfield will display the random number
that we generate. In the Properties panel, select Dynamic Text, give
it an instance name of bigNum, set the font to Impact with a size of
150, and align it to the center. Now align both the textfield and the
button on the stage to your liking. This movie is more about learn-
ing ActionScript but it doesn’t hurt to make it look nice too.
/
In the previous step, you created the sound object and pointed it
to the first MP3 file. This line of code prepared the MP3 file to be
played but it won’t actually play until you call the play method of
the sound object. Now add the code shown in this step to line 6
of the Actions panel. Hit Command-Return (PC: Ctrl-Enter) to test
your movie. Now when you click on the button, you should hear
the first MP3 file playing.
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You now have the basics for playing external sounds in your Flash
movies. But there are many available options when it comes to
playing sound files. For instance, when you test your movie and
repeatedly press the button, it creates a new sound for every click—
leading to interesting results if you click the button rapidly. Since you
probably want it to start a new sound and mute all the others, add
the code shown here to line 5, which stops all sounds in your movie
before playing the new one.
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.
Q9H;7J;J>;IEKD:E8@;9JS
Now that you’ve confirmed that the button click is being handled
correctly, you can delete the trace function from line 5. Replace it by
entering the code shown here. In this line of code you’re creating a
new Sound object with the name of “s.” To the right of the equal sign,
you’re initializing the object by sending a new URLRequest object with
the URL to your sound file. For now, you’ll simply be playing the first
sound named sound1.mp3.
FlashTut_MarApr08.indd 102 2/8/08 11:44:32 AM
QC7A;M?D:EMI>7F;S
At 0 seconds along the Timeline, go to Layer>New>Light. In the
Light Settings dialog, select Spot from the Light Type option, set
Intensity to 100%, Cone Angle to 90°, and Cone Feather to 50%.
Check the Casts Shadows box on, with 100% Darkness and 0
pixels Diffusion. Most importantly, click the Color swatch, set the
color to a very light cream—a more accurate simulation of day-
light, as light is not pure white—and click OK to close the Color
Picker. Click OK to add the light, and it will appear in the scene,
which is suddenly very dark!
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Still at 0 seconds on the Timeline, go to Layer>New>Light, and
from the dialog choose Ambient for the Light Type. Set the Inten-
sity to 70% and check that the same off-white (daylight) color has
been selected from the Color swatch. Click OK, and the scene is
now additionally lit with ambient light, making it much more pleas-
ing and realistic. Note: If you hit P, Ambient lights don’t contain
position values: They add light to all parts of a scene, regardless of
position or orientation.
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With the light selected, hit P to show its Position property, and
place it centrally on x and y, but further back on the z axis, behind
the camera (as the camera would be inside the “room”). The cor-
ridor is slightly lit, but overly bright at the end. Select all the layers
that make up your walls, ceiling, floor, etc., and press AA to reveal
their 3D Material properties. Change Diffuse to 0%, Specular to
30%, and Shininess to 0% for all of the 3D layers. This sets us up
for the all-important ambient light.
Now we’ll create the window shape through which our spotlight
will shine from outside. The best way to do this is in Adobe Illus-
trator, using a solid black shape with a “hole” shape(s) created on
top, and then turned into a Compound Path using the Pathfinder
function. You can also do this in After Effects by creating a solid
(Layer>New>Solid), using the rectangular mask tools to create the
hole areas, then setting the mask modes to Subtract; however,
Illustrator is more accurate and can create more intricate shapes.
AfterEffectsTut_MarApr08.indd 2 2/8/08 11:48:26 AM

To begin, you’ll need a 3D scene with a camera in After Effects.
The best way to do this is to use the wonderful Vanishing Point
Exchange (VPE) feature between Photoshop CS3 Extended and
After Effects CS3, which was the subject of my “Two-Dee Three-
Dee” tutorial (see Layers magazine, Nov/Dec 2007, p. 94). You
can also build one yourself by using solids or imported, texture
images. For this tutorial, I’ve created a VPE from a still image of a
long corridor, imported it into AE, and opened its composition.
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In your Timeline, double-click the Camera icon to bring up its set-
tings dialog and make any changes to enhance your scene. In this
case, we chose 35mm from the Preset menu. Make sure that the
Enable Depth of Field checkbox is disabled and click OK. Then go
to Layer>Transform>Auto Orient, click the Off radio button, and
click OK. Now hit the P key to reveal the camera’s Position prop-
erty in the Timeline, and drag on the X, Y, and Z values to position
your camera to a more interesting angle in your scene.
Q7:@KIJ97C;H7I;JJ?D=IS
[If you’d like to preview the final effect, visit http://layersmagazine.com/downloads.html. All files are for personal use only.]
juÖt!bmxbzt!sbjojohÊ!
Changing the look, feel, atmosphere, temperature, and mood in an After Effects 3D scene can make all the difference
to your animation. Lighting and color go a long way to achieving this but using some little-known techniques and tricks
can really take your scene to the next level of reality. In this tutorial, we’re going to animate rain shadows.
T U F W F ! | ~ ! I P M N F T
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AfterEffectsTut_MarApr08.indd 1 2/8/08 11:48:03 AM
Be faster.
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Switch back to Active Camera in the Composition window. Now
you might ask two questions: “Why is the scene black?” and
“Where are the shadows from the window?” The scene is black (in
this case) because the black window image is sitting right in front
of our camera—but making it transparent wouldn’t allow shadows
to be cast. So, with the window layer selected, hit AA to reveal the
3D properties, and next to Casts Shadows, click on Off twice to
choose Only. Very cool indeed!
Q79J?L7J;¹I;9H;JºI>7:EMIS
In After Effects, double-click in the Project panel to locate and
then import the Illustrator file from Step 6. Drag it from the Project
panel into the Timeline, click the 3D Layer switch in the Switches
panel, hit S to reveal its Scale value, and adjust (if necessary) to fit
across your room. Now reveal the Position property, and position
the “window” back along the z axis to sit in front of the spotlight
(Light 1). In the Composition window, click on Active Camera, and
switch to Custom View 1 to check the relative positions.
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To add outside elements, it’s best to use animated clips such as
rain, snow, leaves, etc. For rain, I’ve imported a clip (UW124) from
the Ultra Water collection by Artbeats. For a moment, set the Casts
Shadows option on the window layer back to Off, then drag the
“weather” clip into the Timeline, and once again click its 3D Layer
switch. Access its Position property, position it just a shade outside
the window layer, then hit S, and scale it down to just larger than
the hole area of the window.
Go to Effect>Color Adjustment and choose Hue/Saturation. In the
Effect Controls panel, drag the Master Saturation value to –100.
Go back to the same Effect menu and choose Levels. Then in the
Histogram section of the Effect Controls panel, drag the black,
mid, and white points closer and more centrally to “crush” the
levels, making the rain as white as possible on a black background,
with as little gray detail as possible. This will make the raindrops
more solid, casting better shadows.
Q9EBEH7:@KIJH7?DB7O;HS
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continued on p. 108
AfterEffectsTut_MarApr08.indd 3 2/8/08 11:49:07 AM
Untitled-2 1 2/5/08 12:19:24 PM
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Finally, go to Effects>Channel>Shift Channels, and choose
Luminance from the Take Alpha From menu to make the raindrops
appear on a transparent background. Now, select both the rain
and window layers, hit AA to reveal the 3D properties, and set
both of their Casts Shadows options to Only (clicking Off twice).
Now if you hit 0 on the keypad to do a RAM Preview, you’ll see
animated rain shadows in your room being cast from a light out-
side! Very cool, but we’re not done yet….
Q9h[Wj[W<_bc<hWc[S
Depending on the speed of your rain clip, it might look like snow
instead. If this is the case, hit the {} icon in the lower-left corner
of the Timeline to show the Time Stretch options, and adjust the
Stretch value of your clip accordingly—in our example, 50% faster.
Hit T to reveal the Opacity options, and change it to around 50%.
Finally, to make the rain taller, show the Scale property, uncheck
the link icon next to the values, and adjust the Y value (height) to
around 500%. Much better!
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To give the scene a little less accuracy, let’s tilt the window shadow
slightly to give it an interesting angle. Close the Time Stretch
options, then Control-click (PC: Right-click) in the top of the
Switches panel and choose Columns>Parent. Under the Parent
panel for the rain layer, click the Pickwhip icon and drag it onto the
name of the window layer to link them together. Now select the
window layer, hit R to show its rotation values, and drag the value in
either direction to rotate both the window and rain together!
A few more things can be done to enhance this scene. Select
the spotlight, and move it on the X, Y, or Z position to adjust the
angles and size of the shadows being cast into the room. You
can go to Layer>New>Adjustment Layer, then add effects such
as Hue/Saturation and Levels to adjust the color and contrast of
the whole scene—even easier if you have Look Suite from Magic
Bullet (thank you, Red Giant!). And, you can animate the camera
through your incredibly realistic scene. Enjoy!
Q7::?J?ED7B;C8;BB?I>C;DJIS
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Steve Holmes is the creative director at Energi Design in Sausalito, California, creating award-winning motion graphics and Web design for clients worldwide. He also speaks at
various design conferences on the subjects of After Effects, motion graphics, and typography, and can be reached at steve@clickenergi.com. Q S
AfterEffectsTut_MarApr08.indd 5 2/8/08 11:49:35 AM
Q;:?J?D=I>EHJ9KJI?DF>EJEI>EFS Q9EFOJ>;:;<7KBJIS
Q7::?D=7D;MI>EHJ9KJS
In almost all the Adobe apps, you can edit shortcuts by choosing
Edit>Keyboard Shortcuts from the menu (or use the shortcut, Shift-
Option-Command-K [PC: Shift-Alt-Ctrl-K]), which will open the
Keyboard Shortcuts dialog. Note: If you start editing the shortcuts
in Photoshop right away, you’ll be changing the default set of
shortcuts and that’s a little unsafe. So, we recommend that you
click the Create a New Set Based on the Current Set of Shortcuts
icon (to the left of the Trash icon), which will allow you to save a
copy of the shortcuts and edit that instead.
You can add a shortcut to almost any command in Photoshop.
If you want to edit a shortcut for a tool rather than a menu item,
simply choose Tools from the Shortcuts For pop-up menu.
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Photoshop will save the new set of keyboard shortcuts as a KYS
file, which you can transfer from computer to computer (it’s also
a good idea to back it up). If you use Photoshop for multiple,
discrete purposes, consider saving various sets of shortcuts; for
example, you could save one for print work and another for video
work. That way, within each set, you can assign the F5 key (for
instance) to do something different. You can switch from set to
set via the pop-up menu at the top of the dialog.
Adding a new shortcut is easy: Just locate the command, click on
its name, and type the shortcut you’d like to use for this command
in the white field. Photoshop will warn you if you’ve chosen an
illegal shortcut: one that Photoshop can’t understand or one that’s
already assigned. It’s okay to reassign a shortcut if you want to;
just make sure it’s one you won’t be needing.
QI>EHJ9KJI<EHM>7J5S
ProdPremiumTut_MarApr08.indd 2 2/8/08 11:50:56 AM

To learn the shortcuts for your favorite app, select its Help file from
the Help menu; for example, in Photoshop, choose Help>Photo-
shop Help. Keyboard Shortcuts are always listed near the bottom,
so scroll down. (It’s also a good idea to print out the Help pages.)
The third time you use a command from a menu, ask yourself if
it’s a command that you’ll use all the time; if so, force yourself to
look up the shortcut and use it from then on. It may take a few
attempts, but soon you’ll have it memorized.
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Nothing makes you look and feel more like a pro than mastering keyboard shortcuts. While beginners are search-
ing through menus, your fingers will be flying across the keyboard and you’ll be ten steps ahead before they can
apply their first command. In all of the Adobe applications, you can view shortcuts; in most (but sadly, not After
Effects or Encore), you can edit them and add new ones.
N B S D V T ! | ~ ! H F E V M E
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ProdPremiumTut_MarApr08.indd 1 2/8/08 11:50:35 AM
Untitled-16.indd 1 1/30/08 12:00:10 PM
The Keyboard Shortcuts dialog in Illustrator works almost exactly
the same way as in Photoshop, with a couple of exceptions; for
example, the Save button is on the right-hand side of the dialog.
Q;:?J?D=I>EHJ9KJI?D?BBKIJH7JEHS
Add shortcuts for those commands you use most often; for example,
we gave the Gaussian Blur filter a shortcut as we use it all the time.
After you’ve finished making your changes, make sure you click
the Save button (circled).
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In addition, the Keyboard Shortcuts dialog in Illustrator has an
Export Text button that, when clicked, will create a text file listing
all of your shortcuts. You can view it in a text editor, such as Text-
Edit or Windows Notepad.
In Premiere Pro, we like to use markers, so let’s create shortcuts
for that. In the Keyboard Customization dialog (Edit>Keyboard
Customization), choose Panels from the second pop-up menu,
twirl open the Source Monitor Panel group, and then add short-
cuts for Go to Next Marker and Go to Previous Marker.
.
continued on p. 114
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/
Q?DIJ7DJ799;IIJE8BKHS
ProdPremiumTut_MarApr08.indd 3 2/8/08 11:51:32 AM
When Matt Kloskowski was asked about his latest book, he described it as, “The Photoshop book I wish had been
around when I was learning Photoshop.” Written in casual, easy-to-understand language, Layers: The Complete Guide to
Adobe Photoshop’s Most Powerful Feature covers such topics as…
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Bk_LayersCompleteGuide_LAY_0208.indd 1 2/7/08 9:41:19 AM
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Premiere Pro users who are transferring over from non-Adobe edit-
ing applications may wish to select one of the built-in shortcut sets,
which mimic shortcuts for Avid Xpress DV and Final Cut Pro.
In Adobe Soundbooth, make sure you click the Save As button
(circled) before editing or adding shortcuts in the Edit Keyboard
Shortcuts dialog. Adding a shortcut in Soundbooth is a little dif-
ferent from doing so in other apps: First you need to select the
command, type the shortcut in the Press Shortcut text field at the
bottom of the dialog, and then click the Assign button.
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Flash veers the farthest away from the standard workflow: While PC
users will be able to edit keyboard shortcuts by choosing Edit>Key-
board Shortcuts, Mac users must choose Flash>Keyboard Shortcuts.
To edit a shortcut in the Keyboard Shortcuts dialog, first duplicate the
standard set by clicking the Duplicate Set icon (circled), then choose a
set of commands from the Commands pop-up menu.
If like me, you’re driven bonkers when you can’t flip graphics in
Flash without going to the menu, then why not add shortcuts to
Flip Vertical and Flip Horizontal?
In the Keyboard Shortcuts dialog, choose Drawing Menu Com-
mands from the Commands pop-up menu. Twirl open Modify then
Transform. Click on Flip Vertical to select it, click the Plus button
beside Shortcuts, then inside the Press Key field, type the shortcut
you want to use. To save the shortcut, click on the Change button.
Then just do the same for Flip Horizontal—with a different short-
cut, of course. That’s all!
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''
Marcus Geduld is the Senior Flash Developer for Nabbr.com and an Adobe Certified Expert who has written several books on Adobe products. He speaks regularly at conferences such
as NAB, Macworld, and the Editors Retreat. He lives in New York City and is the Artistic Director of Folding Chair Classical Theatre. Q S
ProdPremiumTut_MarApr08.indd 5 2/8/08 11:52:02 AM
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With several features that should appeal to graphic artists and
photographers, the Gateway E-295C Convertible Notebook includes
the convenience of a built-in, 7-in-1 memory card reader and the ability
to convert the notebook into a tablet by simply pivoting the screen to
lie flat over the keyboard. This adjustment turns the scratch-resistant
glossy screen into a sketch board and allows you to write directly on
the 14" display with the included Wacom stylus—similar to using a
Wacom Cintiq—and it performs beautifully. The screen responded
instantaneously to the stylus as I made various image manipulations
within Adobe Photoshop Elements.
There’s a five-way navigation control for page scrolling and brighten-
ing the screen when in the tablet mode. On the screen’s bottomleft are
four control buttons that default to features such as rotating the contents
of the screen, opening Window’s journal notebook, etc. And one of the
buttons can be programmed to open any application. The tablet also
supports handwriting recognition and converts script into text for placing
in emails or a text document. I found the text conversion to be accurate
about 85%of the time, but occasionally I had difficulty getting the text
input panel to work with Microsoft Word. Note: This is a known issue to
tech support and I was reassured that it’s being dealt with.
The brushed-black notebook operates quietly, has a solid feel, and
performs quickly and smoothly. At 6.2 lbs, however, it’s heavy to carry
around all day. Booting up takes 50 seconds and browsing the Web and
running various graphics applications was fast and problem-free with a
built-in Wi-Fi card.
Indoors, the screen is bright and colors are consistent from edge
to edge; however, it has a narrow angle of view, and in bright outdoor
light, the screen washes out. The screen’s native resolution is 1280x768
but it can go out to an external monitor via the VGA port and support a
resolution of up to 2048x1536. The screen is hinged and can pivot 180°
smoothly for sharing with others.
You can customize the E-295C Convertible Notebook. The one
I tested had an Intel Core 2 Duo processor running at 2.2 GHz and
it shipped with a modest 80-GB, 5,400 rpm hard drive, 2 GB of
RAM (holds a maximum of 4 GB), and a preinstalled copy of Windows
Vista OS. It came with an ATI Mobility Radeon HD 2300 graphics card
with 256 MB of RAM and a combo, optical DVD/CD drive that can be
swapped out for a second battery.
Hbufxbz!F.3:6D!
On the left of the keyboard is a practical feature to place icons rep-
resenting the numerous connectivity ports found directly underneath
on the side. The E-295C has three USB ports, one FireWire, a PCMCIA
expansion card slot, Ethernet, and a VGA port. The unit came with a
standard, 8-cell, lithium-ion battery that lasted an impressive 5.5 hours
with continuous use—and the notebook never got hot. The Gateway
E-295C Convertible is an impressive notebook.
Note: In recent months, MPC Computers acquired Gateway’s
business-class notebooks, including the E-295C.—Steve Baczewski
XSJUF!EJSFDFUMZ!PO!UIF!TDSFFO!XJUI!UIJT!DPOWFSUJCMF!OPUFCPPL
Company: MPCComputers Price: $1,539(base)
Web: www.mpccorp.com Rating: ●●●●
Hot: Fingerprint pad reader
Not: Weak speakers
\ m b z f s t ! s f w j f x t ^
Reviews_MarApr08.indd 117 2/8/08 12:49:25 PM
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The Epson Perfection V500 Photo scanner does a reassuringly profes-
sional job of archiving valuable documents that people cherish and try to
save when natural catastrophes hit. This is the first Epson scanner to use
the faster LED (light-emitting diode) as its light source, eliminating the
conventional warm-up time.
With USB 2 connectivity, the V500 scans both reflective copy and film
from 35mm through medium format. The film holders are anchored for
exact alignment with the lid’s built-in light source. The glass document
bed measures 8.5x11.7". When raised, the lid locks in place, freeing your
hands to arrange documents. The lid can also be removed or raised to
accommodate scanning 3D objects.
The Epson scan driver is easy to use and quite good. It can be used
as a standalone desktop application or accessed through third-party
imaging applications, such as Photoshop. The interface has three levels
of sophistication for the beginner, intermediate, or professional. The
three levels share some common features but the professional level
provides the most options for image correction. Two powerful features
are especially impressive: Digital ICE to remove dust and scratches from
film; and Easy Photo Fix technology to remove dust and magically
restore color to faded photographs. These features increase scan times
but save time back in your imaging application. To ensure image detail
and smooth color gradients, the V500 has a maximumoptical resolution
of 6,400 dpi for filmand 4,800 dpi for reflective copy at 48 bits. A 35mm
slide scanned at 48 bits at 6,400 dpi, using color restoration and Digital
ICE, took 5 minutes. At these high settings, file sizes can be big and
unnecessary, because quality scans can be obtained at lower resolutions.
The quality of the filmand photo scans I made was excellent. Out of
the box, the color reproduction is so accurate that I didn’t bother to cali-
brate and profile the scanner. The Perfection V500 rivals dedicated film
scanners although occasionally, medium-format filmbuckled slightly in
the plastic film holder. You can place as many photos as can fit on the
glass document bed, then select and make image adjustments to each
photo separately, and finally scan themas a group. Each photo will appear
in your imaging application as a separate file.
As a standalone, the Perfection V500 Photo scanner comes with
four preset buttons on the front of the scanner for use with the included
Epson Creativity Suite software. Each button has a specific function for:
document scanning; copying documents directly to your printer; convert-
Fqtpo!Qfsgfdujpo!W611!Qipup
ing a document as an email attachment; and converting documents into
PDF files (which I found especially useful). Two caveats: converting to
email is supported by only a few email programs in both Mac and
Windows systems; and tech support acknowledged that all of these
presets are currently unstable using the Mac OS 10.4.11 software. By
the time this review is published, however, Epson said there would
be support for Leopard.
If you don’t already own a scanner, the Epson Perfection V500 Photo
is a great choice.—Steve Baczewski
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Hot: Quality scans
Not: Flimsy lmholders
Reviews_MarApr08.indd 116 2/8/08 12:49:01 PM
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The imagePROGRAF iPF6100 is the latest 24" wide-format printer
released by Canon U.S.A. With the promise of solid performance and
great-looking prints, I was eager to put this printer through its paces.
As the printer weighs in at more than 150 lbs, it took two people to
set it up. The ink installation was pretty self-explanatory and straightfor-
ward but we ran into some difficulty loading the paper. It wasn’t long,
however, before the printer was up and running, ready for testing. The
iPF6100 sports USB 2 connections as well as 10/100 network connectiv-
ity, which I opted for, and in just a few minutes, I was able to connect the
printer successfully to a Mac- and a PC-based system.
This wide-format printer has a total of 30,720 nozzles with non -
firing detection and automatic compensation—so any nozzle clogging
is handled automatically. Another great feature is that the printer heads
are warranted for a full year or 10 trillion ink drops (1,100 24x36" prints).
Canon has installed a logging feature to track the overall life of the
printer. The iPF6100 is also Energy Star compliant.
After the inks were loaded and run through a 14-minute setup,
I was ready to start printing and performing some basic tests on
sample paper supplied by both Canon and Hahnemüle (www. hahne-
muehle.de). My first test was a 24x36" print out of Adobe Photoshop
Lightroom on glossy photo paper. (Lightroom offers wonderful color
reproduction and great color saturation and detail.) The printer ran
much quieter than other printers I’ve used, and printed much faster
than I expected—a real plus.
Attempting the same print using Adobe Photoshop didn’t work as
well but thankfully Canon provides a Photoshop CS3 export plug-in that
resolved this problem, bypassing the Photoshop Print feature entirely.
When I used the plug-in, the prints were accurate, showed an impres-
sive amount of color range and saturation, and a great amount of detail.
Switching between rolls proved easy and in 30 minutes, I had matte,
glossy, and watercolor prints that looked amazingly accurate.
One of the biggest problems that I ran into was finding the correct
drivers and ICC profiles on the Canon site even after I asked others to
help in the search. A phone call to our Canon representative resulted in
a CD with all of the required information and I was good to go. (Ideally,
the process of setup should be a little more straightforward and the
website more concise in their offerings.)
jnbhfQSPHSBG!jQG7211
MBSHF.GPSNBU!QSJOUFS
Company: Canon U.S.A., Inc. Price: $3,495
Web: www.usa.canon.com Rating: ●●●●
Hot: Great color saturation, print speed, detail; quiet
Not: Website di cult tonavigate for ICCproles, drivers, etc.
Overall, the Canon imagePROGRAF iPF6100 produced stunning
prints at a variety of sizes. Its quick and quiet output was a welcome
feature and its ease of use made for a pleasant print experience. While
the ICC and driver problem was a bit of a turnoff, the quality of the
prints more than made up for any frustration.—Rafael “RC” Concepcion
Reviews_MarApr08.indd 118 2/8/08 12:49:51 PM
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There are times when the laws of physics won’t let us capture an image as
we see it—especially when working with a macro lens up close. Depth of
field is just plain lacking. So, do we pack up our cameras and go home?
Not anymore…the people at Helicon Soft have defied the laws of physics
with their amazing software, Helicon Focus, allowing us to capture from
near to infinity in sharp focus.
Helicon Focus takes the sharpest areas of multiple images and com-
bines themto create one image that’s completely sharp. It’s designed for
micro, macro, and landscape photography to solve the shallow depth of
field issues that photographers face. It even aligns the images where they
may shift fromframe to frame.
It’s quick and easy to use; in fact, Helicon Focus does most of the
work for you. Simply set up your tripod, compose the frame, and select a
fairly wide aperture. Now here’s the tricky part: Go to manual focus, turn
the focus ring until the closest area in the frame is sharp. Then click the
shutter and repeat, focusing slightly into the frame with each shutter click
until you have a selection of images with sharp elements fromthe nearest
to the farthest points. Load the images into Helicon Focus, sit back, and
watch the magic unfold before your very eyes.—Laurie Excell
Company: Helicon Soft Ltd. Price: From$115
Web: www.heliconsoft.com Rating: ●●●●●
Hot: Takes depth of eld to a whole newlevel
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A first-rate combination projector and home-entertainment center, the
Epson MovieMate 72 covers a wide range of audio/visual connectivity
including VGA, USB, composite, component, and S-Video. The HDMI
port connects to external Blu-ray and HD-DVD players, video-game
consoles, or HDTV, all scaled to 720p, high-definition signal.
The base of the MovieMate includes a built-in DVD/CD player that
swivels for front or rear positioning. The four 5-W, built-in Dolby stereo
speakers produce great sound but if that’s not enough, you can connect
to an external-powered subwoofer or optical audio output. I simultane-
ously inserted a DVD and connected a video iPod, TV, and my laptop
and was able to switch smoothly between each device using the source
control button on the unit and the remote.
The projector houses a 140-Wlamp and 3-LCD technology, produc-
ing beautiful, vibrant colors at up to 1,200 lumens with a 1000:1 contrast
ratio at a native resolution of 1280x720. Images display at 4:3 and 16:9
aspect ratios and image adjustments include keystone and color cor-
rection. A fantastic set of manual, lens-control dials adjust the size and
position the vertical/horizontal placement of the image—I projected an
80" diagonal image from6.5' away. To optimize image quality, there are
five preset color modes for specific situations, such as playing games or
for use in rooms with bright ambient light.—Steve Baczewski
BigPicture is one of those plug-ins that’s so useful you wonder why
Adobe didn’t create a BigPicture-like interface in an earlier version
of InDesign (the BigPicture XTension for QuarkXPress has been out
since 2001), instead of spreading the info over half-a-dozen other
places. To see all the information available at one time in BigPicture,
you’d need to access at least four panels, their menus, and other
menus separately.
Some of the best features of BigPicture aren’t available directly
in InDesign, including the ability to rename graphics, relink identi-
cally named graphics from one folder to another, move graphics to
another folder and relink them, and search for missing graphics on
available volumes. Those four features alone would be worth the
price of the plug-in.
A couple of other useful features include: distinguishing between
anchored graphics and static graphics; the option to hide duplicate
images in the list; identifying the creator of the file; and the ability to
open graphics in a different program than the creator.
My main complaint is that there’s only one customizable column.
With wider monitors, it would be nice to be able to add as many of
the custom-column views as you want, rather than having to switch
to one column. One minor nitpick: The plug-in (actually a separate
application) is listed under the File menu and I’d prefer it under the
Window menu with the rest of the panels.—David Creamer
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Not: Heavy; PDFmanual
Reviews_MarApr08.indd 120 2/8/08 12:50:21 PM
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If you don’t have an entire CS3 suite, which includes InDesign, you
might be inclined to use Illustrator as a page-layout program. After
all, it has most of the basic typographic features of InDesign, including
paragraph and character styles. But there’s always one feature many
Illustrator users clamor for: multipage layout. Whether Illustrator will
ever have that feature remains to be seen. Fortunately with MultiPage 4
for Illustrator, you don’t have to wait.
If you’re familiar with page-layout programs, MultiPage is easy to use.
It has master page features—including auto-page numbering—and the
ability to export the pages as a single, multipage PDF or as separate
PDFs. MultiPage uses layers in a clever way: by turning top-level layers
into individual pages, new pages become new layers. If you already
have layers in your document, be sure you make themsublayers before
activating MultiPage.
When printing or exporting (to PDF, EPS, or JPEG), you have to do it
through the MultiPage palette. If you send the Illustrator file to someone
without MultiPage, you must convert the auto-page numbers into regular
text. When exporting to PDF, take care that you don’t export with top-
level Illustrator layers converting to Acrobat layers.
For occasional use, the MultiPage features could be done manually;
but if you’re doing any long-termprojects in Illustrator, this plug-in pays
for itself very quickly—David Creamer
When I heard that Wacomwas releasing a new, smaller Cintiq, I was
immediately intrigued and at the same time a bit skeptical. All too
often I’ve gotten excited about an upcoming product only to be
disappointed in the end. This, however, is not the case with the
Wacom Cintiq 12WX.
The newest model in the Cintiq line has completely won me over.
First, the size is just right. Unlike the previous Cintiq models, this
one isn’t much bigger than a regular Wacom tablet, which means it
travels much easier. It actually fits in my laptop bag. Another plus
is its versatility. You can prop up the tablet using the built-in easel
stand or you can lay it flat on your desk. Not only that, but because
it’s tethered by one long cable, you can easily place it in your lap,
almost like you would hold a regular sketchbook. This is especially
nice for those coming from a traditional artistic background.
The Cintiq 12WX comes complete with all the built-in features
you’d expect, such as ExpressKeys and Touch Strips that are
programmable to your most-used keystrokes and functions. The
screen is at a widescreen ratio of 1280x800 and, of course, it comes
with Wacom’s patented battery-free pen. (Quick tip: If you have
an Intuos3 tablet, the pens are compatible. I have both and switch
between them using the same pen.)—Corey Barker
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B Y D A V I D C R E A M E R
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B Y C Y N D Y C A S H M A N , P H . D .
QGS
Can I create a color swatch when making a para-
graph or character style?
Actually, you can, and it’s surprisingly simple: In the New
Character Style dialog, select Character Color, then just
double-click on the character color swatch icon, and it
opens the New Color Swatch dialog.
QGS
Does InDesign have something like FrameMaker’s
conditional text feature?
InDesign doesn’t have that feature, nor to my knowledge
is there a third-party plug-in. If your needs are simple, you
can mimic the effect. For example, if you’re doing a “stu-
dent” and “teacher” edition, you can use nonprinting text
boxes for the teacher’s answers (via the Attributes panel).
When printing or exporting, you can include the nonprint-
ing elements. Ideally, the nonprinting boxes would be
anchored in the text, but the text wouldn’t “collapse” like
conditional text in FrameMaker, so place them accordingly.
QGS
I’m sending PDFs to other people and I need them to
print at actual size, not the shrink-to-fit setting. Can
I control the page-reduction size when printing?
There are two basic Page Scaling settings: Default and
None (None is what you’re looking for). To find these set-
tings, go to File>Properties and in the Document Proper-
ties dialog, click on the Advanced tab. You can even set
a few other print settings there too, including Print Page
Range and Number of Copies.
QGS
What is the best way to protect PDF documents
posted on my website? I’ve heard that passwords
are not that secure.
Generally, passwords set to prevent editing PDFs can be
“cracked” with the right software (such as PDF-Recover).
If you have a strong password that’s required to open
the document, it can be fairly safe, but not very efficient
for public-access documents. Certifying signatures won’t
protect the document; it only proves that the document
was altered. Digital signatures will work, but only to a
known group of people who have shared their public digital
signatures with you. If you have the budget, contact Adobe
about their enterprise-level PDF server-security products.
QGS
How do I speed up or slow down sections of
an animation?
Animation is about creating an illusion. Even though a Flash
document can have a setting of only one frame per second
(fps), you can speed up and slow down sections of an
animation by decreasing or increasing the number of
frames between keyframes. Additionally the distance an
object moves on the Stage affects the perception of speed.
Q7ZeX[Zh[Wcm[Wl[hYi)S
B Y R A F A E L “ R C ” C O N C E P C I O N
QGS
What are AP Elements and how can I use them
on a page?
AP (Absolutely Positioned) elements are HTML elements that
you can place in a specific place on a page (absolutely), giving
you the option to lay out your content with great precision.
The other cool part about AP elements is that you can stack
themon top of one another, and even show and hide them.
Combine this with behaviors, and you can create some inter-
esting page effects.
QGS
What are behaviors?
Behaviors are Dreamweaver’s way of making your program-
ming life easier. In the Behaviors panel, you’ll notice many com-
monly used Web-design features that are automatically coded
for you. All you do is create a link (sometimes you don’t even
have to) and go into the Behaviors panel. In a couple of dialogs,
you’ll be throwing error messages, jumping to newpages, and
opening windows with the best of them.
QGS
How can I take a number of separate paths in Illustrator
and join them into one path?
The Illustrator method is to join two points at a time—
not very efficient when dealing with a multifaceted object.
I suggest using the Concatenate plug-in from http://rj-graffix
.com ($20 or $60/site).
Q&A.indd 113 2/8/08 12:53:14 PM
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QGS
I shoot RAW and want to maintain the advantages
of 16-bit color, but Extract is grayed out. Is there
any workaround?
Yes, use Extract on an 8-bit copy of the image, then load
that mask into your original. Here’s how: Choose Image>
Duplicate, Image>Mode>8 Bits/Channel, Filter>Extract,
then Image>Mode>16-Bits/Channel. Switch back to your
original and use the Select>Load Selection command. Load
Layer 0 Transparency fromthe duplicate image, then copy
your selected subject to a new layer. Voilà, Extract for 16-bit
images! Note: Make sure to turn off Open in Photoshop as
Smart Objects in the WorkflowOptions dialog in Camera Raw.
QGS
How can I create a document preset that
includes guides?
Record an action that creates the new document at your
required size and adds the guides. When you need a copy
of that document, don’t go to File>New, simply play your
action. (Remember, too, that for absolute precision, you can
place the guides using the View>New Guide command.)
Q7ZeX[?bbkijhWjeh9I)S
B Y D A V I D C R E A M E R
QGS
Is there a way to edit the existing profile, or make
my own document profiles?
Yes, simply make a new Illustrator file with all the settings
you want and save it in the New Document Profiles folder
found at User/Library/Application Support/Adobe/Adobe
Illustrator CS3 (PC: C:\Document Settings\Application
Data\Adobe\Adobe Illustrator CS3 Settings). You can
make custom page sizes and use custom transparency
flattener presets this way too.
Q&A.indd 112 2/8/08 12:52:44 PM
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AMC Colorgrafix . . . . . . . . . . . . . . . . . .133
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B&H Photo. . . . . . . . . . . . . . . . . . . . . . .138
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Bestblanks.com . . . . . . . . . . . . . . . . . . .141
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Copy Craft Printers . . . . . . . . . . . . . . . .130
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Corel. . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
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cPanel. . . . . . . . . . . . . . . . . . . . . . . . . . .141
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Creative Juices. . . . . . . . . . . . . . . . . . . .141
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CreativeHeads.net Inc. . . . . . . . . . . . . .IBC
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Q:S
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Digital Film Tools . . . . . . . . . . . . . . . . . . .67
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Layers TV . . . . . . . . . . . . . . . . . . . . . . . .136
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Media Lab, Inc. . . . . . . . . . . . . . . . . . . . .75
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Moment It Clicks, The . . . . . . . . . . . . . .134
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QES
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www.ononesoftware.com
Other World Computing. . . . . . . . 15, 107
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Photoshop World
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PrintRunner . . . . . . . . . . . . . . . . . . . . . .137
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Softpress . . . . . . . . . . . . . . . . . . . . . . . . .99
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StockLayouts . . . . . . . . . . . . . . . . . . . . . .71
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Strata . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
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QMS
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Westcott. . . . . . . . . . . . . . . . . . . . . . . . . .61
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of an image. It could be a single object, such as golf ball or a tree,
or it could be just a small selection from a photograph or illustration.
For this issue, it’s a single planet floating around in—nothingness.
Your assignment is to visit www.layersmagazine.com/designcontest
to download the file and then complete the image. You can use
photography, illustration, animation, or a combination of all three.
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a planet). So your completed image and design for the first contest
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Every issue, we’ll pick one winner. Each winner will get
a really, really cool prize. For example, Kelby Training
is sponsoring the contest this time around, and they’re
offering a $300 shopping spree to the winner. Just check
out www.kelbytraining.com to see what you could pick up
with that kind of fat prize purse. In addition, the winning
design will be published on this very same back page in
the following issue. And we’re going to create a gallery of
winners at the Layers magazine website.
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