I get the message "Generating Full Resolution Composite" when I try and save even a relatively average (500MB) file. The hard drive light is lit solid and after about 2-4min, it starts saving the image.
I have tried unchecking "Maximize Compatibility",
I have CS2 - is there a way in CS2 (or CS3) to stop the "Generating Full Resolution Composite" message? I don't care about preview icons/thumbnails at all.
I have a terrain model (geo tiff) and a satellite image (geo tiff). When I drape the sat image over the terrain and switch to 3d I get the 3D drapped image but not in full resolution.
I want to print the 3D model but in full resolution.
I am on a Mac Retina with 16GB of memory . LR4.3 most of the time will not load a full resolution image in the Library module. I can switch to the develop module and it will load. When I return to the Library module it will stay loaded at full resolution. Switching to a different photo in Library will start the same process over again. In the Library module the full resolution will load when a 1:1 is selected. And this happens consistently. But the Library module will not load full resolution by default.A
View 5 Replies View RelatedI have canon legria HFR 106 [URL]......
Problem is setting of the best resolution:
-FULL HD is making these horizontal lines (every other pixel line) if something moves in the picture so its not good
- lower camera setting makes the resolution to 1440x1080 which is 4:3 !! that's not the ratio of today (and youtube) and i didn't even realize it because video studio has 16:9 project settings and the ratio of outputted video seems right?
- Compared these: video 4:3, project 16:9, still images from another camera 4:3 -> fail
what do you recommend, is there a way to get full resolution better without those lines or other way to 16:9 ?
2. Also only recent and fast opening player to play those camera raw videos (.mts) is VLC-player. Is there a way to get it open those videos in zoom mode of 50% or 33% and not 100% they goes over my screen every time!
How can i work with 3ds max 2014 on macbook pro retina using full resolution?
With resolution at 2880x1800 icon and text are too small and 3ds max seem not to do scaling.
With resolution at 1680x1050 works but image is to too blurry...
In the past (but only once), I have used an online service that allowed me to zip a large amount of high-resolution images and upload them to their website in order to transfer them to another person (the other person would download the images at their convenience, within an allotted amount of time), while maintaining their full image quality. I can't remember the name of this service, though. I recall, that, in order to use it, I had to sign up for a free 14-day trial, so it is a paid service, although at the time, I only needed it once (or so I thought).
View 3 Replies View RelatedI am working on a museum project. I have been asked to convert full resolution files to web based files using "Save for Web and Devices". The problem is in the file naming. Museums typically use accession #s for each work. Example 1999.63.102 So the digital file would be named 1999.63.102.jpg (or tif).
When I attempt to save the file using "Save for Web and Devices" the resulting name is converted to 1999.jpg I believe the . (periods) to be the culprit. There are hundreds to do so renaming is not an option. This does not occur when I use "Save as".
I can't figure out how to adjust the size of the program screen when in Full Edit Mode. I can see portions of the Quick Fix menu and none of the Guided Fix menu. There seems to be no way to resize the window.
View 5 Replies View RelatedI realize the nature of my question maybe asking the impossible, but I have a low res image I downloaded from the internet, placed in an InDesign page, blew it up and printed it out. I was going for the distressed look that it has, it looks ok when I print it out considering it's low res and I blew it up fairly large. However, it's a little too pixelated to look professional when printed. Are they any tricks or things I can do to make it look higher res for print. I've attached the image as well as a screenshot of the InDesign file so you can see it in context.
View 4 Replies View RelatedI am a Photoshop newbie and I have a series of graphics (all 72dpi from a website) that I would like to print in 300dpi. Is it possible to take a 72dpi .jpeg or .gif file and easily convert it to a higher resolution printable graphic? If Photoshop can't do it, is there any type of program that can?
View 1 Replies View Relatedbest way to stack 2d and 3d items together in the same document, and maximize the editibility...
I'm working on a digital room setting, and I have part of the room in 3d and part in 2d. So, for example, the walls, ceiling, floor, table, chairs and corner hutch are 3d, but the regular hutch and buffet server are in 2d.
- The table and chairs need to be in the foreground
- The regular hutch and server are behind the table and chairs
- The corner hutch needs to be behind all other pieces of furniture
So, you may be catching on by now to my little dilemna... I want all the 3D items to have the same lighting and reflect off one another, however, I need the 2d layers to somehow fit "inbetween" the 3d objects. The simple question is, how can this be done? Is there a way to mask the foreground 3D objects so that they appear to be in from of the 2D objects? My only current solution is this:
- Move the whole 3D layer (the scene layer) all the way to the back
- Make the final decision on the position of the table and chairs
- Hide all other meshes in the scene besides the table and chairs
- Render, so the edges are clean
- Load the newly rendered 3D layer as a selection (which loads the table and chairs only)
- Either create a new layer from the selection of the rendered 3D layer, or mask the 3D layer so that the table and chairs appear to be in the foreground
The method above means I can no longer edit/reposition/scale the 3D at all.
How do I do a composite snapshot using Photoshop CS5. I know it can be done in CS6 using Control + shift + alt + E. I am not having any luck using those shortcuts in CS5.
View 1 Replies View RelatedI want to put this corvette in that parking garage.
What kind of tips can I have to make this look REAL.
When I paste the car in the garage it obviously doesnt match SIZE wise.
Can I just change the size of the car without affecting the background?
How about shadowing?
i have some big .jpgs with low resolution say 10x10 inch at 72dpi.
is it possible for me to convert it to 2x2 inch at 300dpi?
I'm trying to create a clone composite from a tutorial in a magazine using Photoshop CS. When I create the layer for each image, the tutorial says the layer box should be black whereas mine is white. I have tried various settings inclding the changing the two overlapping black/white squares on the left handside and cannot find any way to make the layer box black.
View 2 Replies View RelatedOnce you create a composite layer at the top of your layer stack w. Option-click on "Merge Visible" in the Layer Panel Menu, is that new layer the only layer that now shows (represents) the image? For instance, if another adjustment layer is added below it, and the Background layer is the only image layer, will the effect of that adjustment be visible? Or do I need to delete the composite layer and create a new one to include the new adjustment layer?
The reason I ask has to do with an illustration (below) I came across from one of Mark Johnson's old NAPP tutorials (Total Control Glowing Montage). In his tutorial "Layer 1" was created as a composite layer of the Background Layer and "Levels 1" which had a Smart Filter applied to it. Then the two "Levels 1" copy layers were added last to fine-tune the effect of the Levels 1 adjustment. Notice they are BELOW the composite layer.
How do I do a composite snapshot using Photoshop CS5. I know it can be done using CS6, but am not having any luck using Control + shift + alt + E?
View 1 Replies View Relatedcs3 has started to print very green since i ticked a checkbox and now i cant find the box to change back. printing the same photo in other applications is fine so its not the printer but a photoshop setting.
which is the exact box that i changed from composite rgb to composite cmyk ( I remember that box on the right that said Text as black.
But where is this from? It says its from Adobe InDesign.
But I dont have In Design!
I have checked Adobe Bridge but there is no printing and colour part in there.
Anyone seen this in photoshop before?
I would like to create an image made of several gif ones,
How can i do it?
workflow problem when dealing with a composite, selection and background layer. My normal workflow is to start of in LR4, and if need be do an "edit in, CS6". I am relatively new to CS6, so bear with me.
I have some portraits I want to put different backgrounds on. I am using Matt Kloskowski's Layers book and Composites books written for CS5. I also have Martin Evening's book on CS6 and the workflow for doing a composite is pretty much the same. The catch is that none of them start off in LR with the original photo. They all describe the following basic workflow pattern:
1. Bring up the main photo in CS using "edit in CS6"
2. Change the photo from a background layer to a regular layer
3. Make a selection.
4. Make a layer mask
5. Refine the edge
6. open the background photo you want to place the selection in (steps 4 and 5 are sometimes reversed so you are refining the edge on the new background)
7. copy and paste the original photo onto the new background
8. Refine the edge if not already done
9. Save and exit back to LR with the composite
If I follow this procedure I run into a couple of problems:
1. My backgrounds are in a separate folder on my computer and not cataloged in LR. So, if I open them in photoshop and paste the original photo onto that image, LR will not know that I want to take the new composite back to the original folder along with the portrait. If I go to save the image, CS want to take the composite back to the folder on my computer where I got the background from. I tried playing around and tried renaming the composite similar to the naming convention I use for my photos in LR and then importing it into that folder after I have saved it in the background folder. This had some unintended consequences. First, I had trouble renaming the composite photo. For some reason Windows kept plugging in an old photo file name from one of my photos taken two years ago. After I discovered that I could work around it. But after the first composite finally got into LR, when I tried to do it again, the import button on the left side of my LR went dark and I couldn't import the second composite photo I was working on. This could have been a coincident and unconnected LR glitch, but I have never had that problem before.
So...I was thinking of modifying the workflow to the following:
1. Bring up the main photo in CS using "edit in CS6"
2. Change the photo from a background layer to a regular layer
3. Make a selection.
4. Make a layer mask
5. Refine the edge
6. open the background photo you want to place the selection in
7. copy and paste the new BACKGROUND onto the original photo
8. Move or make the new background layer THE "Background" layer
10. Refine the edge
11. Save and exit back to LR with the composite
I am envisioning this will ensure that my composite will wind up back in LR because it is still keeping track of the original photo which now has gotten the new background, regardless of what the file name of the new background was.
I'm moving pictures of people onto a backround of flowers and plants. I've used the magic wand and polygonal lasso to get the people on to the backround. That works fine, except the backround near the persons hair shows up as a halo or line around them or I see the backround between the starnds of hair.
How do I have the person show up on the backround without lines or the backround from where I moved the person from. I hope this makes sense., I'm using CS4
I am trying to find a tutorial about making a composite image of a skier flying through the air. I shot at 9 frames per second and want to show all of them on a single frame. Can anyone point me to somewhere that would help get me started on this kinda thing?
View 1 Replies View Relatedim new in .EPS format... i created an AD using photoshop and the magazine company wants me to save the file in DCS2 format @ 300 dpi (.EPS extension), with color composite
but when i save the file, it only gives me 72dpi resolution resolution option...
do i need adobe illustrator to do this?
I need to make an 11x14 composite page for a school. I am shooting photos of all of the students and they want an 11x14 with the school name and all of the students faces in ovals . I would need about 200 ovals, one for each student.
way to do this? Layers? Masks?
making a composite image of a skier flying through the air. I shot at 9 frames per second and want to show all of them on a single frame.
View 4 Replies View RelatedI have been given a job of finding or writing a script for PSD cs6 that generates a new file name with predefined file info and sequential number as well as reducing the image size by ?% and introducing the reduction size into the file name. I do not know much about scripting apart from using it .
View 8 Replies View RelatedI want to apply Burn to a flattened image, but without flattening. My image consists of several layers, and if I apply Burn to the image layer it doesn't work as well as when applied to the flattened image. But I don't want to flatten the image.
I have uploaded a test image here. It is a crop from a scanned Kodachrome using a Nikon Coolscan V ED which causes flare whenever highlights abut shadows. I can remove the flare fairly effectively on a flattened image with several Burn passes by using a brush size:75, Range: midtones, Exposure: 20%. But if I try it on the unflattened image layer, the results are not as good.
I'm using the 3D render engine vray, using its multimatte render element which assigns mattes of certain materials (or objects) in the scene to a channel: R, G, or B.
I'm curious about the best way to composite once I have this file rendered out. The simplest way I can think of is doing a color range selection on the matte channel's solid color, then using that selection to modify my image as necessary. But I have used After Effects to do this also, and there is a "channel select" effect that extracts the channel and converts it to an alpha mask in one step... makes me think there's a more elegant way in Photoshop as well.
I am trying to place/ import a .psd as a smart object into a composite and have Photoshop keep referenceing that same psd witout it creating a local tmp file.
View 2 Replies View Relatedso I'm working on a pretty complex image with alot of composites - models on a new backgrounds, new heads, arms, etc. I had to scale these elements down to fit the image and I used smart object b/c i had to go back and forth and get placement approval before moving on to the retouching. I still have to adjust the mask edges in the smart object PSB's but it is really annoying to go back and forth from the composite image to the PSB with layer mask. Is there a way to rasterize the PSB into the final image with the layer mask so I can better blend it? I tried dragging the PSB with layer mask over but of course it is too big (because i scaled the PSB down).
View 31 Replies View RelatedFirst, a slightly long winded explanation. Shooting the creative family Christmas card this year in a Mini-Cooper (original 60's one). Basically set my lighting up and then shot individual members in the car to post them together. The only snafu - my 20 month old son wasn't exactly cooperating, so the 'good' photograph I have of him is in the drivers seat, and I wanted to move him in between us.
There were a few difficulties here. First, the light changed between originally shooting my wife (windshield was clear), as skies were blue, and when I took the photo of myself nearly an hour later (cloudy skies cast a glare on the windshield. I had a black scrim set up to the side which worked, but wasn't able to knock it out all together. So i faded the clear windshield from my wife's side over to my side with the glare, but I feel that looks fairly natural (or at least good enough for the Christmas card).
The trick comes with my son - I cut him out from where he was at the drivers seat (had to do some shoddy work on his shirt where the steering wheel blocked him), and put him in between us. However, it looks like his coloring is off from what we are - and I can't quite seem to get it right. Color balance is definitely not my strong suit in PS.