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dding filters, styles, and fill or adjustment layers can correct many of the inherent problems in video layers and create fantastic special effects, but sometimes you want to change the content of the actual video layer. Video is probably even more prone to the problems that are common with photos: dust and scratches, unsightly backgrounds, or extra people in the shot. You can use the same Photoshop tools that you would use to fix these problems in your photos, the Clone Stamp and the Healing Brush tools, to do the same to your video layers. Although these changes need to be made frame by frame, the addition in Photoshop CS3 of the Clone Source palette makes the job much easier. After you learn how these tools work in depth, cleaning your video will be second nature.

Grants are made for hundreds of different purposes. To help you see the variety of grants that are available, here are some of the more common ones made today:

1. Select a shape tool. Click the Shape Tool icon in the Toolbox (shown in Figure 5.1), and select a shape tool from the options bar. You can also choose a specific shape tool by pressing Shift+U to cycle through all the hidden shape tools until you find the one you want. Alternatively, Alt+click (Option+click on the Mac) the Shape Tool icon to cycle through the tools, or click and hold the mouse button on the Shape Tool icon to choose a tool from a pop-up menu.

olor mapping is a term that doesn t really explain itself. Both of the words make sense, but paired up, what to do they mean Maybe color converting might be a better term, or perhaps color organization or assignment. Anyway, we re stuck with color mapping, at least in a technical sense, and the term simply refers to the process of shuffling colors around, taking them from where they are now to where you want or need them to be. For example, to map Color A to Color B simply means to take all the A-colored pixels and convert them to B-colored pixels. Photoshop provides several commands that enable you to map entire ranges of colors based on their hues, saturation levels, and most frequently, brightness values. They ve even added a new one Black and White that we ll delve into later in the chapter.

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200 mY mu st be a mpli fied to a maximum of 10 Y and inverted. However, the c ircu it that produces the waveform can pro vide no more than 100 /-lA. Design the required ampl ifier. A n amplifi er w it h a gain of 7T I % is needed. Using res istor values from Table 2. 1, des ig n the amp lifier. Use as few resistors as possible.

As you can see, this tool is perfectly designed for the type of retouching we re doing here. We could have used it on the front face of the building, though the technique we used worked just fine. However, that copy/transform/merge technique would have been much harder to handle on the left face of the building because of the extreme shift in perspective. We ve barely scratched the surface of what this filter can do. I could easily write an entire chapter on it, but I didn t, because many of its functions are beyond the scope of what we re doing here.

I ve already explained that there are as many or more camera raw file types as there are camera brands that capture them. Some of the more notable ones are Canon s formats (CR2, CRW), Nikon s formats (NEF, NRW), and Sony s formats (ARW, SRF, SR2), just to name a few. Your camera has its own format, and you should get to know the ins and outs of that particular format because no two are exactly alike. If you have a newer or less common format, you may want to be sure you can open your files in Camera Raw. You could look for supported formats, but the easiest way is just to try to open a photo in Camera Raw. If it works, you re good to go.

Asymmetric Digital Subscriber Line (ADSL) allows for faster data transmission over telephone lines than a traditional modem allows. ADSL transmits data asymmetrically, with data transmitting faster in one direction than it does in the other direction. An ADSL modem is required for the implementation of ADSL.

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