*Transcription Disclaimer: the following transcription was automatically generated, and may have errors, or lack context.*
Andrew Hochradel:
Welcome to the adobe firefly stream. Today we are going to be hanging out. Creating what, Alex?
Alex Lazaris:
Well, we're going to be making brand mockups with generative AI from Photoshop.
Andrew Hochradel:
It's going to be fun. So we'll be in the Photoshop beta experience. If you are coming over from our Discord, make sure that you subscribe to the YouTube channel right there and leave us a little Purple Heart on the YouTube chat or over on the Behance chat. If you're there, leave us a little Purple Heart. Let us know that you're coming from Discord. We love our Discord community, and we know you guys always show up for these every week here at 12:00 p.m. Pacific Time. And you can follow us on Instagram. Look at all those little pop ups. All right, Alex. Before we get in, we want people to work along with us. We want people to have some fun. Today, we want you to post in Discord, showing us what you are creating. How do they create along with us? Alex, what is the process to get into this? Beta?
Alex Lazaris:
Yeah. So come on over my screen. If you already have your Creative Know app already ready for you to jump into, here's what your screen would probably look like. I've got my Photoshop, my Illustrator camera, Raw, kind of all installed already. If you go under the left side of your screen, you should be able to see the apps list. It took me a while yesterday to find my Photoshop beta.
Andrew Hochradel:
Yes.
Alex Lazaris:
You can type it in directly into the top.
Andrew Hochradel:
If you want, you can search beta.
Alex Lazaris:
It's pulling it up right there. But you need to use the Photoshop on your computer. Yes. Am I missing anything?
Andrew Hochradel:
That's it. So, yeah, clicking on beta Apps, you also can see what else is available to you right there. There's a lot of beta apps that may be available to you. You can go play around, see what's on the way. Nice to see some people in Chat. We have Juan. We have Coral. Nice to see you. Purple Hearts in Chat. We have Patrick coming over. We have Camille. Lots of Discord friends coming over from the community. Nice to see you here. Open up your Adobe Photoshop beta and create with us today. Let's hop in and make some stuff. Today we're going to be generating a bunch of things. As always, this is a live show. It is live. Live. If you have suggestions for prompts, if you have things you'd like to see, if you would love to steer us off the rails into utter chaos, we would love to go there with you. So please put your comments in Chat. If you have questions, drop them. If you have suggestions, drop them over in Chat and let's hop in. Tell us a little bit about what we're doing, where we're going, what's our journey.
Alex Lazaris:
So essentially, I've pulled a bunch of stock assets, stock images from both Adobe Stock and Unsplash and other free resources for you to use. You can also download them from Express as well if you're using Express normally. So pull them in. I've got them all ready to go. And now we're going to do is just kind of tell the AI where we want to place certain things for a brand mockup. We'll also have some fun with it with some shirt things and reskinning stuff. But for the most part, if you're thinking about this as like a brand piece for you want to maybe stage an image before you go to do a photo shoot or something that you're wanting to use pre commercial. This is a really good way to kind of stage it, because right now you're not able to use Generative AI fill for all your commercial needs. Yes.
Andrew Hochradel:
So still in beta. So we're still working on things, which means not available for commercial use quite yet.
Alex Lazaris:
And you'll see some of the renders and things that we'll get won't look awesome to start. Yes, but that's because it's a beta.
Andrew Hochradel:
It's a beta. And that's kind of the fun of it is when we do these shows, we never know what's going to be. So who knows if it's weird, if it's wonky. It's beta. We're working on it and we can laugh and have some fun and then move on and try to find something that's a little bit better.
Alex Lazaris:
Yeah. And if you've seen our streams before, we love chat interaction. So give us ideas, give us prompts, things that you want to see in the images. We're happy to incorporate them into kind of what the set dressing we're doing. Yes.
Andrew Hochradel:
And let's do something real quick before we hop in, just because I want to show a little pro tip is let's do two apples on this table. So let's generate two apples on this table and let's make one of the selections small and one of the selections large. And what I want to show here is basically when you're working with Generative fill, it is going to fill the entirety, every single pixel of what you are selecting. So if you are trying to put an apple on this table, this is probably about the right size for an apple. Right. So we're typing in red apple, making the selection. It is generating that red, golden, delicious crisp apple. And there it is right there.
Alex Lazaris:
And it gives us three options. Yes.
Andrew Hochradel:
Is there a hand on that apple? Yeah. All right.
Alex Lazaris:
Yeah.
Andrew Hochradel:
Like a reaching apple. Okay, so that's the size. Now can we make a large selection and do the exact same prop red apple? Oh, yeah, big boy. So again, it is all about the size of the selection. Even if you do a small selection, it's going to change the scale of that object. So when you're putting stuff into a scene it's very important to be able to understand what the scale might be in your imagination and how big to make it, because I think this is going to generate a giant apple.
Alex Lazaris:
Yeah. Well, I think people are having a hard time understanding that this apple is maybe not. It is bigger. So I think we need to do a banana for scale.
Andrew Hochradel:
Oh, I think we need a bana for scale. Good call. Banana for scale. Yes. That feels about the right scale. That apples and bananas. Big boy apple. Yes, I agree. This is going to supposed to be like mockups and it's going to end up being just like a cornucope. Yeah, it's going to be like a Renaissance painting of random fruits. There we go. Banana for scale. Oh, it's a dancing banana going. All right, I like the first one. Yeah, first one feels better.
Alex Lazaris:
Yeah.
Andrew Hochradel:
Okay, cool. So we've got bana for scale. So again, when we're working with scale, it is very important to make sure that the selection is the right selection. All right.
Alex Lazaris:
And you can now tell that the apple on the right is much bigger than the apple on the left because we had that banana. Yes.
Andrew Hochradel:
And Chad is saying that they were confused before the banana. So it's good that we know. All right, so let's go ahead and actually work on what we're going to do today, and that is generating some mockups. If you want to stick around right after this stream, in about an hour, we have Cyrus is coming on and it is going to be an awesome stream. I got a little bit of a preview. We are going to be working with Adobe Firefly with Generative AI and converting into video using stop motion. I saw some of the work. It's amazing. So please stick around for that stream because it's going to be awesome. But Alex, where are we starting here?
Alex Lazaris:
So I just figured we've got this beautiful blank image, which I think is great. I think originally I might have Photoshopped out a clock in the background or something like that. But most brand mockups that I feel like people might be using as either a concept pitch or showing the client, like, this is how I do my brand, typically showing it on like, shirts or a laptop screen, a TV, business cards, all those things. We just plopped it in. And I feel like the scale is like, pretty spot on.
Andrew Hochradel:
It's pretty spot on. Yeah, I think you did a good job at getting the right angle.
Alex Lazaris:
Yeah, I mean, I didn't do it.
Andrew Hochradel:
Well, like, of the right size to put the angle.
Alex Lazaris:
Yes, Photoshop did it.
Andrew Hochradel:
Yeah, we kind of did it.
Alex Lazaris:
Good job, computer.
Andrew Hochradel:
Yeah.
Alex Lazaris:
So we got that. We got a laptop screen. So what we could do is if we were to treat this as like a final one, let's see what other options it gave us. Okay, so I feel like this one feels like a better laptop, but this one feels more like a this first.
Andrew Hochradel:
One will probably be easier to put something on the screen too.
Alex Lazaris:
So what we can do is just zoom in there if we want, just kind of copy that screen size. And then what you do is just build another layer and then just fill it in with whatever color you want. I filled it with black. You can't see it, it's white. Now what I'm going to do is just make it a smart object, convert to smart object. And then what I can do is take this and then double click into it and then just throw whatever image in I want. We have this, we've got all the things. There we go. I'll grab this image.
Andrew Hochradel:
Is this your album cover?
Alex Lazaris:
This is my boy band.
Andrew Hochradel:
Okay, cool.
Alex Lazaris:
Yeah. So we got this studio shot of Ethan and I. Whoa. Squished it.
Andrew Hochradel:
And the cool thing about working with smart objects is you can edit, change everything in the actual file and then it will apply whatever's on the smart object. So if you have filters or distortions on the smart object, it will carry that over and apply those distortions regardless of what you do here.
Alex Lazaris:
Yeah. And so what we can do with this if we want is we can, like you said, with the distortions and stuff, you go to the edit effect and then you just do like transform perspective. Try to get it kind of aligned a little bit better to the screen mockup. Obviously, we're not going to spend all day fussing with the mockup designs, but I just want to show you at a high level what you can do really quickly within Photoshop. But this is how I would go about building kind of a mockup so that's boom. Pretty quick. It's pretty quick. No time at all. We can throw in like maybe a coffee mug, a cell phone, some business cards, I don't know.
Andrew Hochradel:
Yeah, absolutely.
Alex Lazaris:
Chat. Let us know if you want to throw anything in there or take things out. Coffee cup size, probably something like that.
Andrew Hochradel:
And someone is saying, I've used it. It had some weird results. Not perfect. Sometimes requires editing. Yes, it's in beta, so we're still working on it. Sometimes you do get weird results, but it is intended to be a creative copilot, so it's not meant to replace anything. It's meant to kind of just help speed up your process. And so, like we said, doing mockups like this of adding in, changing perspectives, it is a great creative copilot to go with you on your normal process. And yes, sometimes we get hands. I do know island knows specifically that the team is working on hands. I've been in a meeting that is about hands. So, yes, there are things that are working on and again, it is in beta, so we're on the way. Keep playing with it. See, we can go and actually right next to me. Hold on. Right over there. Oh, no, I need that back. There is a plus and a minor. Sorry. A thumbs up and a thumbs down. So when you generate oh, you're talking about yeah, on your screen. Sorry. So when you generate real quick yes. You can hit thumbs up or you can hit thumbs down. If you get a good result, hit that thumbs up. If you get a bad result, hit that thumbs down. If you get a concerning result, hit that flag and let us know. And it will get flagged by an actual person on the team so we can work on it. So that's really helpful data for us to help improve and make firefly a lot better for you and Generative Fill.
Alex Lazaris:
I think that one of the things that's super exciting about this is we've all been Retouching images for a long time, but I think this is really once it comes out of Beta and everything, your ability as a Retoucher, I think Retouchers are going to have so much work, but also the world is just expanding for them. So many things that they can add, they can change, they can throw in there. Like this coffee cup not fully in alignment with the overall lighting of this scene. It's a lot harsher light on that for some reason than other stuff. So, like, Retouching, that would just make it even better.
Andrew Hochradel:
And being able to send this to a photographer to be like, this is exactly what I want. I want this kind of setup. I really want it to look like this. I have these elements super helpful. So you don't have to set up the shoot yourself. You can really generate here's the mood board, here's the vibe we want. And then have a photographer go and shoot it.
Alex Lazaris:
Yeah. Let me just see if I can throw like, a TV on the background wall too.
Andrew Hochradel:
Yes.
Alex Lazaris:
Maybe that's somewhere over, like here.
Andrew Hochradel:
Oh, yes. And someone's saying helping to extend the images is a huge help to utilize. Yes.
Alex Lazaris:
Oh, we'll go into that after this mockup.
Andrew Hochradel:
Yeah, we'll definitely do that right after this mockup. I do believe that that is one of my favorite things, especially there have been so many times and tell me if you've done this. A client is like, we need it this size. And you're like, okay. And so you move the image and then you do the white or black gradient over the side so that it covers the edge of the image. And then you have like, oh, it's trying to separate the text.
Alex Lazaris:
Or you duplicate it and flip it. And then also try to send it.
Andrew Hochradel:
And then use content to wear fill in between. Yes. So we will be showing that that is one of the best features of Generative Rec. Oh, yes. It pulled the screen in. Honestly, what a vibe great.
Alex Lazaris:
I was wondering if we threw on, like, a monitor mockup in there. Like, if we wanted to say, oh, let's put a monitor inside of a TV, would it try to do it?
Andrew Hochradel:
And that's really cool that it's, like, Generative Fill, and it's taking into context what's in the photo and then helping you put it in there. That's really cool.
Alex Lazaris:
And blurring it out all the details to make it feel like it's in the background a little bit more.
Andrew Hochradel:
Yep. And Megan is saying, I found AI tools to be a great addition to my workflow. Yes, I agree.
Alex Lazaris:
Yeah, it's pretty awesome stuff, but even that blank TV very subtly, you wouldn't be able to see the differences that it's not real. You kind of have to pay attention to it really quick. So we're done with that image. Good enough right now. Oh, what is this? A little poolside lounge?
Andrew Hochradel:
Yeah. I love this for stories, but I need it for an Instagram post.
Alex Lazaris:
Alex oh, well, I can just add it to a library for oh. So what I'll do here is actually just take this foreground, and then I'm going to put, like, a towel here.
Andrew Hochradel:
Oh, okay.
Alex Lazaris:
And then maybe that's like maybe I'm working with, like, a hotel client or something.
Andrew Hochradel:
I'm like, yes.
Alex Lazaris:
Oh, we need to really just put a logo on a towel in this. Yes.
Andrew Hochradel:
Very Palm Springs right now, we are at a motel in Denver, and I think that we can really use Generative Fill to make this a resort in Palm Springs.
Alex Lazaris:
I agree. I think if we just adjust the color palette a little bit so it's a little less overcast, we'd really nail the Palm Springs.
Andrew Hochradel:
Yes, I agree. And actually, we can maybe play around with the adjustment presets that just came into the Adobe Photoshop beta and see if we can find a Palm Springs preset. And hello. I am Kanina, I believe it is. I'm so late. I'll catch the replay on what I missed. Yes, you actually can subscribe over on YouTube, subscribe to Adobe Live, and then you can watch the replay. Every single episode of every show that we do is over there.
Alex Lazaris:
Yeah, I really like that it just threw in this, like this looks photorealistic to like it's got the background done. Well, now we got a towel.
Andrew Hochradel:
There the overcast shading and lighting from our Denver hotel.
Alex Lazaris:
Let's adjust this. Yeah.
Andrew Hochradel:
So what we can do is we can kind of just add stuff on top so that as we generate, everything will stay together in a kind of unified tone and look right.
Alex Lazaris:
Teach me the adjustment layers. Okay.
Andrew Hochradel:
So we can go to I believe it's window.
Alex Lazaris:
Window.
Andrew Hochradel:
And then we can go to adjustments, and it should pull up that window. And there we go. Adjustment presets. Those are brand new, and all you need to do is hover over and it will give you a live preview you don't even have to click on it. It's so good. And then if we click right there on more adobe's, like, oh, you want presets.
Alex Lazaris:
Boom.
Andrew Hochradel:
Here's a million presets. So we have landscapes, right? So there are a ton of presets here. And not only is it giving you the preview, if you click on it, it will add all of those layers to your document so you can see what's going on.
Alex Lazaris:
Yeah.
Andrew Hochradel:
As you've been clicking, it's been, like, giving you a million layers, but you can hover over, and then when you're ready oh, one of those had a nice little blue water. I think that's for the water steak. Yeah, that's pretty Palm Springs, the orange, it's a little yellow.
Alex Lazaris:
I clicked it.
Andrew Hochradel:
But what's really cool is yes, it adds those layers down there so you can understand what's happening. And then we say, hey, it's a little too yellow or a little too orange. We can go in there and augment that and change that. So it's a great place to art. And again, creative copilot. This is not firefly or generative AI, but it is a really good partner with firefly and generative AI, being able to generate some images, generate some pieces, and then put everything underneath it. And now if we generate more, it will go with these adjustment layers because they're all just affecting the pixels below.
Alex Lazaris:
It magic. That's great. And hello.
Andrew Hochradel:
Gus Martin in Chat. Nice to see you, Gus.
Alex Lazaris:
Oh, Gus. Hello. Hello.
Andrew Hochradel:
Full octave. Jump for Gus.
Alex Lazaris:
Yeah, that's my squealing, because I haven't seen Gus in so long.
Andrew Hochradel:
All right, what else do we want to add to? I think we need one more thing. Sorry.
Alex Lazaris:
No, let's do it.
Andrew Hochradel:
I kind of want what, a beach.
Alex Lazaris:
Ball in the water? A floaty?
Andrew Hochradel:
Or do you want sunscreen? Let's do something in the water. And this is like, a little hack that I learned. Okay. And I'm trying to remember how to do it is the answer. So I believe what you can do is you can do a yes lasso there, and then you can make your selection.
Alex Lazaris:
How big do I need to go? We're doing a shark.
Andrew Hochradel:
Let's do a shark.
Alex Lazaris:
Okay.
Andrew Hochradel:
Let's do a shark. It's going to be like a mini. Like, that's a regular shark size.
Alex Lazaris:
I don't have a banana. I don't know what the scale is.
Andrew Hochradel:
So we can do shark. Yes. And Jesus Ramirez has an amazing tutorial on this of how to generate so that it looks like things are underwater. And I believe what he usually does is a trick with opacity. And this is not the workflow. I can't remember exactly the workflow, but we'll do it.
Alex Lazaris:
Yes. A shark hit generate type shark underwater. Is that going to mess? Let's see what happens. No.
Andrew Hochradel:
And then we'll take the opacity down, and it will help mix it so that it looks like it is going underwater. And it's a little bit of kind of part of this photo.
Alex Lazaris:
Love it. Annika says a rainbow floaty, please. Happy pride. Absolutely.
Andrew Hochradel:
Oh, yes. Happy pride, everybody.
Alex Lazaris:
I feel like those are the different.
Andrew Hochradel:
I was just thinking of what they would laugh like. These are great. So then I think what we could do is change the blending mode maybe and change the opacity.
Alex Lazaris:
Yeah, that makes sense. If I did something like maybe like a soft light.
Andrew Hochradel:
And we may even want to crop him out so there isn't as much water. So actually this is a great example if you are looking at I think that one's good. And then maybe just use, like, select subject or crop him out. This is a really good example of it will fill every single pixel that you want in there. So it'll fill every single pixel that you select, not just the object. Okay. It looks pretty good. It's a shark voiceover in Express. Honestly, I've wanted nothing more. Can you just drop this layer, this image into our library and we're going to make that happen.
Alex Lazaris:
It was being difficult chat. We're good.
Andrew Hochradel:
Hold on. We actually might have not have I'm grabbing my mic. I might have messed everything up. We might have sound on this stream. Studio managers, we have sound on this stream?
Alex Lazaris:
Yeah.
Andrew Hochradel:
Okay, cool. We're good. Let me plug this in. And we 100% will do a voiceover here. And we're going to show you the power of Adobe AI. With Adobe Express. With Adobe chaos. All right, let's go. Here, plug in my mic. All right, we're good, y'all. So Alex has a Creative Cloud library that he has shared with me. And I can actually if we want to hop over to my screen, we can go to brands and libraries.
Alex Lazaris:
I need to add it. Hold on.
Andrew Hochradel:
Thank you. And we have an out. I think it is Lazaris.
Alex Lazaris:
Laz and Hawk.
Andrew Hochradel:
And Laz. There we go. Right there. And I'm going to do a couple of things here. I think that I'm going to have him like, do you want the whole.
Alex Lazaris:
Thing.
Andrew Hochradel:
Just like drag the actually, can you drag the layers into give you the shark guy? Yeah, give me the shark guy and then yes, you can just give me the whole thing. Just give me the whole thing and I will do the voiceover on there. If you can mask him out into just his own layer, then that would be helpful too. Okay, cool. We can hop back to Alex's screen for now. So he's going to mask out the shark so that I can animate him in Adobe Express beta and he's just dropping the individual layers into the document.
Alex Lazaris:
Do your thinking, think, think could not find. What do you mean you could not find?
Andrew Hochradel:
Oh, you're selected on the mask? Yeah.
Alex Lazaris:
Boom.
Andrew Hochradel:
All right, great. It's pretty close. I think that you need to no, that's fine.
Alex Lazaris:
I'll give it to you. It's fine.
Andrew Hochradel:
All right, we're going to mask it in and yes. Thank you. Someone in Gus Martin has found that link for us to show you how to do intensity to make things underwater. All right. So we can hop back over to my screen, and I have now in my libraries right here, I have the photo. So I can just add this photo here and it's going to put it into Adobe Express. I will set that as the page background, so it's just going to get nice and large for me. Actually, I'm not going to set it as page background because I need it to bleed out just a little bit. And then once Alex is done with our little shark man, it will show up again in these assets. There he is. Look at this guy. There we go. So I can put him right there. That looks pretty good. I am going to change the blending mode here. Let's change the screen and see what happens. There we go. He's looking underwater. Take the opacity down. All right, he's looking pretty good underwater. And let's animate him. So we're going to go to animation and do Slide. Let's do rise.
Alex Lazaris:
Maybe.
Andrew Hochradel:
Yeah. And then have him rise into the left. OOH, love it. All right, here we go, Chat. I'm going to go ahead and go over here to Media. We're going to do audio, and I'm going to voiceover, record voiceover. All right, here we go. Hey, you guys, what's going on? All right, I love that. I'm going to toss on these headphones real quick. I had a blast. And let's see what this sounds like over here. Again, using Adobe Express beta with the Photoshop beta. Here we go. Let's see what happens. Hey, you guys, what's going on? The magic of AI here in the adobe creative cloud.
Alex Lazaris:
Wow.
Andrew Hochradel:
What joy that was. All right, back to Alex's screen.
Alex Lazaris:
I want that to be just available for everybody to be using immediately.
Andrew Hochradel:
It feels great. All right, so we did it. We'll probably end up doing more of that in Chat. If you want more of that, if you want to see something that's more chaotic, if you have ideas, let us know. We're here with you for the next, like, 40 minutes to do whatever your bidding is.
Alex Lazaris:
All right.
Andrew Hochradel:
And somebody in Chat actually has a suggestion. The shark needs a hot dog or a soda for all that hard work. Maybe a hot dog, I think.
Alex Lazaris:
Yeah. I'm really hoping that we can get one of those Toy Story comically straws when the bendy straws back in the day. Oh, yes. Wonder if we can get one of those.
Andrew Hochradel:
Yes, let's play with that. And I'm actually going to watch this tutorial on stream while we're here so that I can tell you how Jesus Ramirez does his version of the Fill. Let's see what happens here. I've got options. I have to navigate to chat on YouTube. Hi, YouTube. Chat. It's me, Andrew. I'm looking for that comment from Gus so that I can skim through. All right, what's your workflow over there?
Alex Lazaris:
What are you working on? I typed in soft drink with straw. Oh, there we go.
Andrew Hochradel:
I like that. It's like right to his mouth.
Alex Lazaris:
I think the AI knew it was like this.
Andrew Hochradel:
He looks thirsty.
Alex Lazaris:
That looks pretty yummy, yum, yum, yum, yum.
Andrew Hochradel:
Okay, let me turn my captions off. 40% intensity. Okay. Object with varying intensity. A better workflow. All right, I'm going to have to watch this after. So Gus did drop a link in Chat to the tutorial by Jesus Ramirez. It's really good for putting things underwater. It's also good for making reflections, which is pretty cool.
Alex Lazaris:
Just fixing the layer mask. Boom. The perspective on that feels pretty good. And we need a hot dog.
Andrew Hochradel:
Yeah, I think a hot dog would be a good idea.
Alex Lazaris:
Okay. Anything else? Chat.
Andrew Hochradel:
Any other suggestions? Chat. And someone's saying it's interesting that they got the perspective with such a minimal image. I agree. But I also think the perspective on this would probably be pretty easy because it is, like super hard perspective that it's just like, boom, here it is. But it also doesn't have necessarily the perspective of the ground. So it is interesting that it got that perspective so well. And Alex is actually trying it looks like you're trying to make a path, first of all, but trying to match that perspective a little bit.
Alex Lazaris:
Hot dog. I feel like I haven't really been giving it that much direct prompting.
Andrew Hochradel:
Yes.
Alex Lazaris:
I've just been like generic thing.
Andrew Hochradel:
Yes.
Alex Lazaris:
Maybe we need to get into hmm.
Andrew Hochradel:
Okay. And we did forget Chat is saying a pride floaty. We did forget that we are in Palm Springs and it is pride right now in Palm Springs. So we do need to maybe do some kind of pride element. So maybe we do like maybe I.
Alex Lazaris:
Need to just do a rainbow towel.
Andrew Hochradel:
I was going to say oh, yeah. Regenerate the rainbow towel.
Alex Lazaris:
What's cool is I smooshed the layer. Let's see what I can do. Just hue, saturation.
Andrew Hochradel:
Hue and saturation. To do a bunch of different rainbow stripes. We could generate over it. But we did smoosh the layer, which, again, when we work destructively, that means that we are changing the pixels, which.
Alex Lazaris:
Is what Alex did. Yeah. More of like, do what we say.
Andrew Hochradel:
Not what we yeah, totally. Yeah. But what we could do is we could change that in the back end. Usually you can go back onto the layer and change it back over. So what was the prompt we just put in?
Alex Lazaris:
I just typed in rainbow towel.
Andrew Hochradel:
Okay, let's see what happens.
Alex Lazaris:
Yeah, it might not work.
Andrew Hochradel:
Sometimes when you put in, like, modifying words, it gives you each of the words instead of the modifying. So it might be like I mean, that's pretty good.
Alex Lazaris:
That is. Pretty good.
Andrew Hochradel:
What other options we got?
Alex Lazaris:
That's a confused one.
Andrew Hochradel:
Pry towel.
Alex Lazaris:
Yes. Barcode towel. This is the strongest one.
Andrew Hochradel:
This is a rainbow capitalism.
Alex Lazaris:
Exactly.
Andrew Hochradel:
Okay, cool. Yeah, that feels okay. Yeah, I think the saturation is a little hot on that, but that's fine.
Alex Lazaris:
Oh, it's because we have a lot.
Andrew Hochradel:
Of oh, the saturation is hit.
Alex Lazaris:
We do like another do a pass on it. All right, now we're getting into, like, way too much.
Andrew Hochradel:
It's true. All right, so sorry. Let's go back. Let's continue with our mockups. I like that anytime we do generative fill, it's like, all right, let's show you a professional workflow. And then it's like a shark is drinking a drink in Palm Springs with a hot dog and a flag.
Alex Lazaris:
Yeah.
Andrew Hochradel:
Okay, keep going here. Where are we going next?
Alex Lazaris:
All right, back. We're putting on our corporate overlord hats and we're going to do, like, a phone mockup. That seems like it would make a lot of sense in this space. We could also do a business card, but I think a phone could work really nicely.
Andrew Hochradel:
And I like that you're just using your imagination of, like, there could be a phone right here.
Alex Lazaris:
Apparently it's like the size of an iPad.
Andrew Hochradel:
It's one of those foldy phones.
Alex Lazaris:
Samsung.
Andrew Hochradel:
But it folds this way. It's a vertical fold, like the old razors.
Alex Lazaris:
Just smartphone. Boom.
Andrew Hochradel:
Smartphone. Let's see what happens.
Alex Lazaris:
Oh, no, I did this yesterday or two days ago, and it worked really well. And it was, like, surprisingly good how it worked.
Andrew Hochradel:
So something that is interesting is Adobe Firefly is trained on Adobe stock, so we are not trying to get into anyone's IP. And so if we put in something that is a specific term that is someone else's IP not going to generate. So if you're trying to do, like, Mario and whatever, mario's not going to come up. It will give you whatever it thinks is the closest match to the idea of a Mario. There we go.
Alex Lazaris:
Cool. So it's a little small, potentially.
Andrew Hochradel:
I like that our selection was too big and the phone is too small.
Alex Lazaris:
Yeah, exactly. So I can just kind of cheat it a little bit and just make it a little bit bigger.
Andrew Hochradel:
Honestly, not too bad. And then you can just kind of mask out the edges a little bit.
Alex Lazaris:
Yeah, exactly. What I love is how good it is at detecting and mimicking the backgrounds. Yes. It's got all the beautiful things from, like, content where fill tools. Yeah, it's just sweet.
Andrew Hochradel:
And someone is saying, a hovering art director. Maybe we can add a person behind her. That's like a hovering art director.
Alex Lazaris:
Have you had good luck with prompting people?
Andrew Hochradel:
I haven't, but I think that we.
Alex Lazaris:
Could probably just like a leg.
Andrew Hochradel:
Yeah, I'm nervous, but like, don't be nervous.
Alex Lazaris:
We got maybe let's see here.
Andrew Hochradel:
Like a person standing.
Alex Lazaris:
How would I prompt that?
Andrew Hochradel:
Maybe we could do shadow. Like a shadow of a person.
Alex Lazaris:
Okay.
Andrew Hochradel:
See what happens.
Alex Lazaris:
To generate a fill. A person's shadow. Generate I wonder what it would give us for hovering arc director if we just typed that in.
Andrew Hochradel:
Should we try it on, like, a blank document and see what happens? Why not? Yeah, just be like, give us that. Okay.
Alex Lazaris:
Yeah, I like that. That's what actually was kind of hoping for.
Andrew Hochradel:
The art director is not hovering. He's right around the corner being like, so what are you working on over there? I'm not mad about it.
Alex Lazaris:
No. Both of these are kind of in line with what we're looking for. We didn't want a person's face in there because that'd be weird. So I think somebody's, like, leg kind of walking in there.
Andrew Hochradel:
All right, let's do a blank document and do a hovering art director just because Chat wants to see it. And I think that that would be kind of fun.
Alex Lazaris:
Yeah.
Andrew Hochradel:
So the max generative size for Adobe Firefly and for Generative Fill is 1080 by 1080. So if you are generating something and it looks pixelated or it looks like it's not the highest quality, change your selection size to 1080 by 1080. Little pro tip for you there.
Alex Lazaris:
Great. All right.
Andrew Hochradel:
Generative phil, hovering art director. Good luck, everybody.
Alex Lazaris:
Watch it. Just paste my face in there.
Andrew Hochradel:
I'll bet it's going to be okay, here's what it's going to be. It is going to be a clapboard from a movie that is, like, hovering, and then it's, like, painted like a genie or something.
Alex Lazaris:
Yeah.
Andrew Hochradel:
So it'll be like a hovering. Oh, my goodness.
Alex Lazaris:
Wow.
Andrew Hochradel:
It actually generated a person. And he's like, so what do you have for me? What options do we have? Okay, what else does it generate? That's hilarious.
Alex Lazaris:
I did not expect it to be this good.
Andrew Hochradel:
I didn't either.
Alex Lazaris:
And he's got, like, the art pieces.
Andrew Hochradel:
Yeah. And there's a huge art piece in the back that's just, like, tape that he's like, oh, yeah. Okay. Very judgy. Yes. I love this.
Alex Lazaris:
Yeah, this is great.
Andrew Hochradel:
I can't believe it did that. Someone is saying a small trash bin on fire. Sure. We can put that somewhere.
Alex Lazaris:
We'll just make another layer.
Andrew Hochradel:
The body language. Yes, the importance of body language.
Alex Lazaris:
Mall trash bin on fire. I think we should try to swap out his outfit. Oh, like, make him, like, vacation. Hovering art director.
Andrew Hochradel:
I like that. Yes. Oh, interesting. Okay, so this is something that's interesting that happens sometimes with your prompts, is what it's doing is it is putting so what was the prompt that we.
Alex Lazaris:
Put in a small trash bin on fire.
Andrew Hochradel:
So it took a small trash bin, put it on fire. And so sometimes you can have to change your prompt to be, like, in flames or, like, a flame or use different words and try to think of how is it understanding and interpreting this image, because you might be able to nudge it in the right direction with the way that you do your prompt. Good prompts. Usually between three and eight words. There we go. What did we change here?
Alex Lazaris:
I changed to dumpster fire. Dumpster fire because I feel like that's like, more like it's more broad, but it also has a lot more weight to it.
Andrew Hochradel:
I agree. And if you love Dumpster Fires, tune in every Wednesday at 01:00 p.m.. We have a show called Adobe Office Hours. We always say that it is Adobe's favorite dumpster fire. It's one of my favorite shows. We help you be more creative. It's fun, it's crazy, it's off the rails. So join us 01:00 P.m., every Wednesday for that show. All right, let's definitely change an outfit. How do we make this hovering art director a little more judgmental?
Alex Lazaris:
Yeah, well, I think everybody has that experience of sending off emails to people that are on vacation yes. And getting back a response and you're not expecting it. So maybe we vacation him up.
Andrew Hochradel:
Yeah. So maybe select subject and then change the background.
Alex Lazaris:
Yeah. Or oh, you want the background change? I was going to change his shirt.
Andrew Hochradel:
Oh, change the shirt. But let's do the background. Let's put him in, like, the beach.
Alex Lazaris:
In the beach.
Andrew Hochradel:
And something that you could do here, there's a couple of ways you could do this, is you could yes, select the subject and then generate the opposite of the selection. So generate the subject and then change the selection to be the background. Or you could remove the background and generate something entirely new. There are options. We're using the object select tool here, by the way. Photoshop will actually detect where a person is or where an object is, and you can just click on it and it will make that selection. Okay. Can we make the selection and then generate a fill on that layer or on top of that layer?
Alex Lazaris:
Oh, right, you do that.
Andrew Hochradel:
Yeah.
Alex Lazaris:
All right, so I got the selection.
Andrew Hochradel:
So I just make a selection invert it.
Alex Lazaris:
Yeah.
Andrew Hochradel:
Which you can use a contextual toolbar down there or just do that.
Alex Lazaris:
Yeah.
Andrew Hochradel:
And then let's generate yeah. Where do you want to send him? Chat where do we want to send our hovering art director that is judging us from a distance?
Alex Lazaris:
Margaritaville.
Andrew Hochradel:
Margaritaville.
Alex Lazaris:
It's not going to be Tos.
Andrew Hochradel:
Margaritaville is probably tos I think it's IP. Oh, yeah. What does margaritaville look like to you?
Alex Lazaris:
Not these things.
Andrew Hochradel:
Honestly. Honestly, anywhere can be margaritaville with the right attitude.
Alex Lazaris:
Alex that is true.
Andrew Hochradel:
That is true. Chat, where do we want to send our hovering art director? Someone said lasers out of his eyes. That might be an interesting to add. Lasers.
Alex Lazaris:
We can do that.
Andrew Hochradel:
Oh, I actually have a hack to add lasers here's. What we do is you are going to make, like, a laser shape from the eyes of a selection.
Alex Lazaris:
Okay.
Andrew Hochradel:
And then you are going to do it on a fully white layer, and then you're going to do, like, laser shooting with a black background. Okay. The beach tropical bar. That's the tropical bar that someone just said right there. This one was the next one. That one. That's Bora Bora. That's Hawaiian Beach. That's tropical bar. I think that's a good one. All right, so let's go ahead and add those lasers.
Alex Lazaris:
Okay. So blank layer.
Andrew Hochradel:
Yes. I'm going to talk you through it like we're dismantling a bomb. What you're going to do, blank layer filled with white.
Alex Lazaris:
Boom.
Andrew Hochradel:
From there, we are going to draw out the laser angle and shape of the eyes. So if you want to, you can just change the opacity of the layer.
Alex Lazaris:
Yeah. All right.
Andrew Hochradel:
So let's draw out with a selection what the lasers are going to be. And I would do like, a triangle shape. Yeah, totally. And then we can do two of those, one for each eye. All right. This is my hack. I love doing this because it fills every pixel. You cannot have things like lasers or flames because it will completely change your image. But you can hack it by creating a white layer. And then we are going to generate these lasers right there. And now you can turn that layer back onto 100% and generate lasers on black background. And if you're thinking about this, doing things on a black background allows you to add it as if it's light. Doing things sorry, on a white background allows you to do things that are light. If you do it the opposite way, it will make it darker. So on a white back okay. Interest there. I'm not mad about those.
Alex Lazaris:
Those are pretty cool.
Andrew Hochradel:
So let's do those. And so now what we do is we simply will go and turn off our white layer and now change the blending mode to screen and watch what happens. Right. And so it changes it so that all of the black goes away. I don't know where those white lines came from.
Alex Lazaris:
I don't know either.
Andrew Hochradel:
Is there a stroke or something on it? They weren't there. But what it does, basically, is let's actually generate on a black background. Let's try that. So same selection, or what are you saying on black? So do the white layer that's underneath it, change that to black, and then generate the lasers and see what happens. Because it is taking the context of what's around it to generate those layers.
Alex Lazaris:
Got it.
Andrew Hochradel:
And so, yes, let's generate on a black background and see what happens here.
Alex Lazaris:
Cool.
Andrew Hochradel:
I think maybe we can just click on that and regenerate, like retype.
Alex Lazaris:
Yeah, we could. Oh, I see what you're saying.
Andrew Hochradel:
Yeah.
Alex Lazaris:
That saves us from masking everything out.
Andrew Hochradel:
It does. It saves us from so much time. All you need to do is click on it, and then we can generate right there. And I believe you said same prompt right?
Alex Lazaris:
Yeah, same prompt, just rerunning it, which.
Andrew Hochradel:
Is interesting because it will give us something different because yeah, there we go. That's what we wanted. Because it's on a black background. Yes, those second layers are so much better. And so now yes, with that screen, it takes all the black away and you get this cool kind of laser effect. There you go, you're welcome. We're here to help. And someone's saying you need to change the smile to a scowl.
Alex Lazaris:
Oh, we can do that, we can do that.
Andrew Hochradel:
Angry mouth.
Alex Lazaris:
Should we use the prompt for that? Because we can use the sensei should.
Andrew Hochradel:
We use the neural filter? Yeah, let's do that.
Alex Lazaris:
It's going to look funky whenever it's.
Andrew Hochradel:
Like this, but let's try it. I would like compress everything. Control what is it? Command shift option E or whatever to merge everything, including background. Oh, not that. Hold on. You merge everything, undo that. Okay. I don't know what it is.
Alex Lazaris:
The most hovering art director.
Andrew Hochradel:
Yeah, I don't know what it actually is. It's control command option shift E. There we go. It makes a copy of that layer and so that way it's not compressing everything, it's making a copy. So you still have all the things that it's compressed. Okay, let's go ahead and use a neural filter.
Alex Lazaris:
Okay, we go to filter. How do we do it again?
Andrew Hochradel:
It is filter and then this neural filter right there at the top. Neural filters, right, there we go. And then it's going to give us all kinds of options and yes, I don't think we've shown neural filters on these. Neural filters are in photoshop and they are things that help you change your photos. So there is a great restore, there's a great recolor, and we of course are going to be using one of them here. That is the smart portrait, right? Smart portrait, yes. And we'll probably need to download it'll take a second to download. So smart portrait is going to allow you to change the direction of the eyes, the age, the smile, the amount of hair. There are all kinds of things. So all there you can see that.
Alex Lazaris:
There is happiness slider.
Andrew Hochradel:
Let's see if we can make our subject happier.
Alex Lazaris:
I'll put them at 37%. I don't want to yeah, I feel like to be too happy.
Andrew Hochradel:
Yeah. Our directors are never above a 37% happiness scale and it does process this in the cloud. And so it is going back and forth between WiFi to analyze the image, figure out where the face is and how to change the face to look more X, Y or Z. So what are the options that we have here? So we've got yes, that's so cool. So let's try to make him less happy and do scowls. Let's take this happiness way down. So like -37, -37, yeah, and then what other options do we have that we can use?
Alex Lazaris:
We got facial age we got hair thickness, we've got eye direction, and then my lasers aren't.
Andrew Hochradel:
There we go.
Alex Lazaris:
I like how his ears change too.
Andrew Hochradel:
That's good. So let's open up expressions as well, and we can prize anger. Yeah, anger is plus we proud of. Yeah, plus the anger. And as art directors can be happy. I agree. I think hovering art directors generally not the happiest. I could have used this on my Christmas cards eight years ago. Couldn't get my kids to smile. Yeah.
Alex Lazaris:
Oh, yeah. This is great for that. It's honestly really good for if you're doing a photo shoot and you realize you didn't capture the perfect thing, just small nudges to the face is really helpful.
Andrew Hochradel:
So let's make him a little bit older, and then let's make him maybe looking. Actually, the eye direction is really on point for the lasers, so let's maybe make him a little bit older by doing that facial age. All the way up.
Alex Lazaris:
All the way plus 50.
Andrew Hochradel:
There we go. This is going to be oh, we went all the way up. I said it, and I don't know if I meant it that hard, but let's try it.
Alex Lazaris:
It doesn't look like it's changed yet. Roll right says AI tells he might be 30, but he looks as if he's 50.
Andrew Hochradel:
Oh, look at what it's doing up top. I think that it's changing the hair, so it's figuring out the hair as part of that facial age. Let's take it down and see if we can make him younger.
Alex Lazaris:
Okay. Is it going to give him plus 9000 hair? Let's see. Little baby did its thing. It didn't.
Andrew Hochradel:
Little baby face. I think the lasers are messing up the facial rest in.
Alex Lazaris:
Oh, I agree.
Andrew Hochradel:
But we definitely changed the portrait of how we look. So actually, let's go ahead and hit OK on this, and let's turn that layer on and off, and we can see the difference in the faces.
Alex Lazaris:
I was like a completely new person.
Andrew Hochradel:
Yeah, man, that's crazy. Again, all AI here, which is really cool.
Alex Lazaris:
He does look visibly more perturbed.
Andrew Hochradel:
He does. I'm on vacation. Oh, I heard that. You did something to my file.
Alex Lazaris:
Why am I getting blown up on slack right now?
Andrew Hochradel:
All right, we got about 10 minutes left.
Alex Lazaris:
Chat.
Andrew Hochradel:
If you have any other suggestions, please let us know. We are already off the rails, and we are going to continue to go off the rails. So if you want to give us a prompt right there you can see, give us a prompt that you want to see. Give us a situation, give us an element. And for now, we're going to continue on with some mockups, which is what we're supposed to be doing this whole time. We're on some mockups and see what we can do.
Alex Lazaris:
So I'm just looking at this guy's shirt. Maybe we want to change it out for an image. Maybe I'm part of the black shirt. Crew. I'm a big fan of it, but maybe it's not what you need.
Andrew Hochradel:
Maybe we need let's do a fun patterned knit sweater.
Alex Lazaris:
That's a great idea.
Andrew Hochradel:
I hear that only the most successful and attractive people wear patterned knit sweaters.
Alex Lazaris:
Of course, they're the only ones who can pull it off.
Andrew Hochradel:
That's it. Chad, I need thumbs up, please. All right, so let's change it over. We're going to select, make that selection, and then we are going to yeah, do a patterned knit sweater.
Alex Lazaris:
Any more specifics? Do you want triangles in it?
Andrew Hochradel:
Yes, definitely triangles. All right, what's our final prompt?
Alex Lazaris:
I did pattern knit sweater with triangles and neutral colors.
Andrew Hochradel:
OOH, let's see what happens.
Alex Lazaris:
I feel like it's already going to probably pull some of your color palette just because the image already has it.
Andrew Hochradel:
Gives this sweater okay.
Alex Lazaris:
Always baffles me whenever I see it swap out clothes, and it actually looks good.
Andrew Hochradel:
Honestly, I want that sweater right now.
Alex Lazaris:
That's cool.
Andrew Hochradel:
That one's cool too.
Alex Lazaris:
Dang.
Andrew Hochradel:
All right. I like that one. I think that that's cool. That's really cool. Chat, someone's saying Christmas, so maybe let's do another journey so we can change this. We can actually just add to the prompt on this layer and we can add in Christmas very easily and quickly by just typing the word Christmas into that prompt. Duplicate it. Okay, we learned our lesson.
Alex Lazaris:
So pattern knit sweater or just do actually Christmas.
Andrew Hochradel:
You know what? Let's not duplicate it because let's delete this layer because I want to show you no, it's fine because it will add so if we delete it and then we regenerate this, it will add it in the variations. So we'll have the history in the variations, so we don't need more layers and someone's saying Star Trek vibes. And we did Christmas sweater.
Alex Lazaris:
Ugly Christmas sweater.
Andrew Hochradel:
Okay.
Alex Lazaris:
Trying to go for that, like, office party competition type thing or like that.
Andrew Hochradel:
I have an official ugly Christmas sweater from the Windows 1998 Christmas party, and it is great.
Alex Lazaris:
Oh, I can't hate these, though.
Andrew Hochradel:
Yes. I like this one. That is just like oh, no, here's Christmas.
Alex Lazaris:
Here's the Santa hat.
Andrew Hochradel:
Yes.
Alex Lazaris:
Attached. Honestly, it's so impressive. This is cool too.
Andrew Hochradel:
I love that.
Alex Lazaris:
And I like that it has, like, the reindeer. Oh, you know what we can do? What? We can try to see what would happen if we expand this image.
Andrew Hochradel:
Yes. And someone's asking, are we doing any branding mockups? We did a couple. We will do a couple more in the last, like, 8 minutes that we have here. I'm so sorry. We got off the rails really quickly. We try to make these shows again. They are live. Live. So we have a plan. But then Chat started suggesting things and we kind of kept rolling with it. And here we are. Adobe Live is here for you. So, yes, we can do some branding mockups because we do take requests we do do it live. And that is where we're going to go to right after this.
Alex Lazaris:
I was really curious where the shirt would go because I saw the that's like a bear.
Andrew Hochradel:
It gave a bear shape that feels like a bear running through a Christmas forest magic.
Alex Lazaris:
I think it's only because it has this image and I was trying to figure out what's next and we didn't really prompt it. So that's why it's not as dialed as the other. Yep.
Andrew Hochradel:
Okay, let's do some branding mockups here.
Alex Lazaris:
Fine.
Andrew Hochradel:
All right, talk us through where we're going. What are we going to try to do to do some branding mockups to kind of show how we can leverage Adobe Firefly with our brands.
Alex Lazaris:
I've got a this one's cool. I got this. So I got this image of this kind of like, cool little building and I want to use it for branding mockups, but I don't necessarily want to do all this on the side. So I'm going to try to expand it on the other side and then use that as our mockup. So I'm just going to expand that canvas over and then let Generative Fill figure out the rest of that building.
Andrew Hochradel:
So we're just going to make a selection. You want to make sure you overlap a little bit with the image so it has something to sample from. And then we are going to Generative Fill and not put a prompt in and just hit Generate. And with no prompt in there, it will kind of just guess on what needs to go there and fill it in. Take the context from the image and it will extend it here, which is going to look really good.
Alex Lazaris:
Honestly, that's probably close to the other side. Yeah.
Andrew Hochradel:
And we have options. What other options do we have here?
Alex Lazaris:
That's probably what I would use yes.
Andrew Hochradel:
To get it a little further out. That one's probably.
Alex Lazaris:
I think it needs to be this one because the other it's got the stippling or whatever the effect.
Andrew Hochradel:
Oh, that's true.
Alex Lazaris:
Yeah.
Andrew Hochradel:
It got a little bit wonky on the sky toning up in the top left, but that's not a big deal.
Alex Lazaris:
No, that's an easy Photoshop fix.
Andrew Hochradel:
Yes.
Alex Lazaris:
So essentially what I would do from here, again, like we did with the laptop mockup at the beginning of the stream, is we would create a shape layer that we think is like roughly the same kind of dimensions or shape. And then we would create our own little layer, just fill it with a color and then convert a Smudge object.
Andrew Hochradel:
Oh, and then we can use the perspective.
Alex Lazaris:
Yeah, and then we'll use our perspective tool.
Andrew Hochradel:
So you can actually not use the Perspective tool. I'll give you another hack. You can use a transform tool, hit CTRL T and then you can click and drag holding Alt or Option. It's one of the two. And you can drag each individual anchor point. There we go.
Alex Lazaris:
Yes.
Andrew Hochradel:
And then just snap it in. And that way you don't have to like weird shifts. You can just do like corner to corner.
Alex Lazaris:
That's really clever.
Andrew Hochradel:
It's really nice. I didn't discover this until way past the time that I would have liked to. That's the journey of every creative. It's like, oh, this hack saved me 9 hours.
Alex Lazaris:
Great. Honestly, with how fast Adobe is constantly iterating on stuff, it's so hard to keep up sometimes.
Andrew Hochradel:
It really is.
Alex Lazaris:
And it's like the puppet warp perspective warp tool versus a perspective warp transform yes. Are two different kind of so we.
Andrew Hochradel:
Have it at the right perspective and it is transformed now because it's a smart object. We can come in here and let's say that we want to put like a mural on here. We want to put our logo on there. Everything that we change in this document is going to be augmented onto that new perspective at the same time.
Alex Lazaris:
Yeah. So I'm just going to throw this.
Andrew Hochradel:
Wow.
Alex Lazaris:
Lazaris logo.
Andrew Hochradel:
Shameless promotion.
Alex Lazaris:
I mean, yeah, why not? It's not for commercial use. We're just mocking things up.
Andrew Hochradel:
Just have fun, just a little fun.
Alex Lazaris:
Update that smart object and boom, boom.
Andrew Hochradel:
So you can check that out. So it is at that full perspective, which is really cool. And then if you wanted to, we could actually make that layer, like change the blending mode to multiply. And if we put color on it or you had some kind of mural that you were working on, it's actually going to push that down onto the image so it'll look like it's blending a little bit better.
Alex Lazaris:
Yes. And I'll grab that and I'll just grab color layer. Boom. Pull it down.
Andrew Hochradel:
And there's no blending modes on the actual file, but because the layer is blending, boom. We got it.
Alex Lazaris:
Yeah.
Andrew Hochradel:
That looks pretty cool.
Alex Lazaris:
Yeah. I'm a fan. Maybe I should go buy a building.
Andrew Hochradel:
You should go buy a building. That sounds like a great plan. Laura. Laura Co is asking about the branding mockups. What else would you like to see mocked up? Because we do have a bunch of options and Alex is actually showing a really cool workflow right now. What did you just do?
Alex Lazaris:
I just essentially am grabbing the type and then I'm just trying to essentially constant aware fill but with a generative fill.
Andrew Hochradel:
Yes.
Alex Lazaris:
We'll see what it does. Gives me options. Options. Boom.
Andrew Hochradel:
So it's really, really good for removing things, especially when you have little lines like that that it's trying to find. It's really good. Just don't put anything in the box and you can just click click and it will be in there, which is really nice. So let's say I want more of the road at the bottom. Let's go ahead and extend a little bit further to give us some more of that road.
Alex Lazaris:
Should I just go straight down? Yeah.
Andrew Hochradel:
Oh, and actually you can see your smart object really well there. You can see where we transformed. That smart object is actually going all the way to where the wall would. Should we? No, let's not. That would be stressful. We got about 2 minutes left here. So if you have suggestions, get them in and make sure you stick around. The next stream is going to be incredible. We're going to be looking at a video workflow using Adobe Firefly, generating images and then creating this kind of, like, stop motion effect. I got a preview. It's awesome. I would watch this stream and I watch like there are a lot of streams that happen. I would specifically put this on my calendar to watch this next stream. So make sure you stick around. Someone's saying, can you mock up something else over the chairs? Interesting.
Alex Lazaris:
What do you mean? What ideas do you have?
Andrew Hochradel:
Yeah, how would you do that? I have an idea of how I would do that.
Alex Lazaris:
I wonder, do they mean, like, should I put an awning on the building?
Andrew Hochradel:
Oh, let's do that. I think they mean the wall and having the chairs stay in the foreground. What I would do there? What would you do?
Alex Lazaris:
I would mask in the chairs. But that's a lot of manual work.
Andrew Hochradel:
I would do I would probably do a select and then go to over the top. Go to select.
Alex Lazaris:
Just like object select?
Andrew Hochradel:
No, the top. At the very top. The menu bar all the way up. Yes, select. And I would do color range and then grab the color range. Just click on the wall.
Alex Lazaris:
Oh, on the wall, right.
Andrew Hochradel:
And then I do that. And then I would fill this and make this into a smart object. But you're going to get a lot of the sky. You'd have to deselect the sky. But that's what I would do is I would do the select color mask out the sky. And then you would have a pretty good idea of what the selection of that wall was. And let's do it and then change it to a color. At least we have like, 30 seconds left, but I think we can do it.
Alex Lazaris:
Okay.
Andrew Hochradel:
So just fill that selection with new layer and then fill it with a color, and I think we'll get pretty close.
Alex Lazaris:
Okay. Got gray. I put gray on it.
Andrew Hochradel:
Can we put like, a bright color?
Alex Lazaris:
Okay. Sorry.
Andrew Hochradel:
Just for contrast.
Alex Lazaris:
Yeah.
Andrew Hochradel:
Alex was like, where are colors? How do I do a color shop?
Alex Lazaris:
Okay.
Andrew Hochradel:
Yeah, so it did pretty okay. You'd have to go in there and do some masking. Yeah, it would be possible to do you just have to go in and do a masting and yes. I also would use channels is a good call there. And you can kind of just paint in the area. So thanks so much for joining us. Make sure you stick around. The next stream is going to. Be awesome. Alex, any things that you would like to say as we close out this stream?
Alex Lazaris:
No, this is great.
Andrew Hochradel:
Sounds great. Thanks for joining us everybody. We'll see you in about 3 minutes for another stream. Make sure you stick around. It's going to be awesome. Bye.
