#how to create clipping path in photoshop

[lisatgilliam]

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[productreview13]

clipping path and background just pen tool

[anyataylorjoys]

Someone asked me how I created the fade transition in this gifset which I’ll try to explain in the most comprehensive way that I can. If you've never done something like this before, I suggest reading through the full tutorial before attempting it so you know what you'll need to plan for.

To follow, you should have:

basic knowledge of how to make gifs in photoshop

some familiarity with the concept of how keyframes work

patience

Difficulty level: Moderate/advanced

Prep + overview

First and foremost, make the two gifs you'll be using. Both will need to have about the same amount of frames.

For ref the gif in my example is 540x540.

I recommend around 60-70 frames max total for a big gif, which can be pushing it if both are in color, then I would aim for 50-60. My gif has a total of 74 frames which I finessed using lossy and this will be explained in Part 4.

⚠️ IMPORTANT: when overlaying two or more gifs and when using key frames, you MUST set your frame delay to 0.03 fps for each gif, which can be changed to 0.05 fps or anything else that you want after converting the combined canvas back into frames. But both gifs have to be set to 0.03 before you convert them to timeline to avoid duplicated frames that don't match up, resulting in an unpleasantly choppy finish.

Part 1: Getting Started

Drag one of your gifs onto the other so they're both on the same canvas.

The gif that your canvas is fading FROM (Gif 1) should be on top of the gif it is fading INTO (Gif 2).

And here's a visual of the order in which your layers should appear by the end of this tutorial, so you know what you're working toward achieving:

Part 2: Creating the grid

Go to: View > Guides > New guide layout

I chose 5 columns and 5 rows to get the result of 25 squares.

The more rows and columns you choose, the more work you'll have to do, and the faster your squares will have to fade out so keep that in mind. I wouldn't recommend any more than 25 squares for this type of transition.

To save time, duplicate the line you've created 3 more times, or as many times as needed (key shortcut: CMD +J) and move each one to align with the guides both horizontally and vertically. You won't need to recreate the lines on the edges of the canvas, only the ones that will show.

After you complete this step, you will no longer need the guides so you can go back in and clear them.

Follow the same duplicating process for the squares with the rectangle tool using the lines you've created.

Align the squares inside the grid lines. The squares should not overlap the lines but fit precisely inside them.

This might take a few tries for each because although to the eye, the squares look all exactly the same size, you'll notice that if you try to use the same duplicated square for every single one without alterations, many of them will be a few pixels off and you'll have to transform the paths to fit.

To do this go to edit > transform path and hold down the command key with the control key as you move one edge to fill the space.

Once you're done, put all the squares in their separate group, which needs to be sandwiched between Gif 1 and Gif 2.

Right click Gif 1 and choose "create clipping mask" from the drop down to mask it to the squares group. This step is super important.

After this point, I also took the opacity of the line groups down to about 40% so the lines wouldn't be so bold. Doing this revealed some squares that needed fixing so even if you aren't going dim the lines, I recommend clicking off the visibility of the lines for a moment to make sure everything is covered properly.

Part 3A: Prep For Key framing

I wanted my squares to fade out in a random-like fashion and if you want the same effect, you will have to decide which squares you want to fade out first, or reversely, which parts of Gif 2 you want to be revealed first.

In order to see what's going on underneath, I made Gif 1 invisible and turned down the opacity of the squares group.

If you want text underneath to be revealed when the squares fade away, I would add that now, and place the text group above Gif 2, but under the squares group.

Make a mental note that where your text is placed and the order in which it will be revealed is also something you will have to plan for.

With the move tool, click on the first square you want to fade out. Every time you click on a square, it will reveal itself in your layers.

I chose A3 to be the first square to fade and I'm gonna move this one to the very top of all the other square layers.

So if I click on D2 next, that layer would need to be moved under the A3 layer and so on. You'll go back and forth between doing this and adding key frames to each one. As you go along, it's crucial that you put them in order from top to bottom and highly suggested that you rename the layers (numerically for example) which will make it easier to see where you've left off as your dragging the layers into place.

Part 3B: Adding the Keyframes

This is where we enter the gates of hell things become tedious.

Open up the squares group in the timeline panel so you can see all the clips.

Here is my example of the general pattern that's followed and its corresponding layers of what you want to achieve when you're finished:

So let’s try it!

Expand the control time magnification all the way to the right so you can see every frame per second.

As shown in Part 3A, select your first chosen square.

Where you place the time-indicator on the panel will indicate the placement of the keyframe. Click on the clock next to opacity to place your first keyframe.

Move the time-indicator over 3 frames and place the next key frame.

Things to consider before moving forward:

Where you place your very first keyframe will be detrimental. If you're using a lot of squares like I did, you may have to start the transition sooner than preferred.

If you're doing 25 squares, the key frames will have to be more condensed which means more overlapping because more frames are required to finish the transition, verses if you're only using a 9-squared grid. See Part 4 for more detailed examples of this.

The opacity will remain at 100% for every initial key frame, and the second one will be at 0%.

Instead of creating two keyframes like this and changing the opacities for every single clip, you can copy the keyframes and paste them onto the other clips by click-dragging your mouse over both of them and they'll both turn yellow. Then right click one of the keyframes and hit copy.

Now drop down to your next clip, move your time-indicator if necessary to the spot where the first keyframe will start and click the clock to create one. Then right click it and hit "paste".

Tip: When you have both keyframes selected, you can also move them side to side by click-dragging one of them while both are highlighted.

Your full repetitive process in steps will go as follows:

click on square of choice on the canvas

drag that square layer to the top under the last renamed

in timeline panel: drop down to next clip, move time-indicator tick to your chosen spot for the next keyframe

create new keyframe

right click new keyframe & paste copied keyframes

repeat until you've done this with every square in the group

Now you can change the opacity of your squares layer group back to 100% and turn on the visibility of Gif 1. Then hit play to see the magic happen.

PART 4: Finished examples

Example 1

the transition starts too soon Cause: initial keyframe was placed at frame 0

the squares fade away too quickly Cause: overlapping keyframes, seen below. (this may be the ideal way to go with more squares, but for only 9, it's too fast)

Example 2

more frame time for first gif

transition wraps up at a good point Cause: in this instance, the first keyframe was placed 9 frames in, and the keyframes are not overlapping. The sequential pair starts where the last pair ended, creating a slower fade of each square.

Part 5: Final Tips and Saving

You can dl my save action here which will convert everything back into frames, change the frame rate to 0.05 and open the export window so you can see the size of the gif immediately.

If it's over 10gb, one way to finesse this is by use of lossy. By definition, lossy “compresses by removing background data” and therefore quality can be lost when pushed too far. But for most gifs, I have not noticed a deterioration in quality at all when saving with lossy until you start getting into 15-20 or higher, then it will start eating away at your gif so keep it minimal.

If you've done this and your gif is losing a noticeable amount of quality and you still haven’t gotten it below 10mb, you will have no choice but to start deleting frames.

When it comes to transitions like this one, sometimes you can't spare a single frame and if this is the case, you will have to return to the timeline state in your history and condense the key frames to fade out quicker so you can shorten the gif. You should always save a history point before converting so you have a bookmark to go back to in case this happens.

That's pretty much it, free to shoot me an ask on here or on @jugheadjones with any questions.

[thebramblewood]

I thought it might be fun to do a little behind the scenes for the last story post! You guys might be surprised how little actual editing was involved. I mainly just crop, add brightness and saturation, clean up any small bits of clipping or weirdness that bother me, and then add captions! Do you want to know what actually took me the longest?

This hair had some problem areas that showed up in live mode but not CAS. It's such a tiny thing, but it annoyed me, so I had to touch it up in nearly every screenshot. Luckily, the darkness of her hair means I didn't have to do a perfect job.

The effects were all done in-game. Lilith has the alluring visage vampire perk, which creates the red haze and mind control spiral. Unfortunately, Helena crossed her path too closely, and rather than set the shot up again I used the clone brush in Photoshop to edit out the effects around her head (vampires who can successfully do mind control on other vampires are exceedingly rare). By the way, I later figured out a quick and dirty method for dispelling unwanted visual effects on a Sim is to remove buffs in MCCC.

As I've mentioned, I had to shoot the attack scene twice. The first attempt was too dark, the location wasn't very visually interesting, I was in an area of San My where I had less camera control, and I used the Effects Player, which ended up being less eye-catching (hey, sometimes vanilla is the best option!). They would have worked to get the point across, but I think you can really see how I learned and improved upon my vision!

These comparison shots are all uncropped and unedited, by the way. Reshade/Relight truly does the heavy lifting. I've also gotten better at finding an angle I like and sticking with it, even if that's only because I don't want to adjust Relight all over again, lol! Speaking of angles, that last shot was done using the Dutch angle trick I learned in this tutorial by @surely-sims! First-person camera is actually super useful for storytelling. If you don't already know about this head-turning trick, it'll change your life. It comes in clutch for changing the eye line of a posed Sim since I'm not always great at getting that right in Blender.

Anyway, I don't know if anyone will find this super helpful or interesting, but I'm always open to questions about taking and editing screenshots, even though I feel like most of what I know has just been absorbed through osmosis and trial and error!

[dqmeron]

here's my quick tutorial for making layouts in photoshop! i'll be going over how to make this 4-panel square one! ↳ requires basic knowledge of photoshop

「 step 1: making your file 」 make a new file, 540 x whatever height you want (just make sure it fits within tumblr’s image size guidelines), and make sure the background is set to transparent. for this specific layout, i want the overall shape to be square, so my dimensions are 540x540!

「 step 2: mapping out 」 the best way to make sure your layouts are even and spaced equally is using guides! go to view > guides > new guide layout. the color of your guides doesn’t matter at all (i just like green so mine are green lol), and you can have as many columns and rows as you want. since this is going to be a 2x2 layout, i’ll have 2 columns and 2 rows. the general rule of thumb for gutter is 4px. 

once your guides pop up, select the rectangle tool by pressing U on your keyboard. make sure shape is selected from the drop-down menu at the top (right by the home button in the top left), and make sure that you have snapping on (view > snap). 

using the rectangle tool, trace out your layout panels! as long as you have snapping on, your path should naturally snap to the guidelines, making it a LOT easier to do this! when you’re done making your rectangles, you can turn off guides by going to view > guides > clear guides (i usually keep them on until i’m done adding in my gifs but this is up to you). i always name each shape layer after where it is in the grid to not get confused.

「 step 3: adding gifs 」 some quick things before i go over actually adding in your gifs: 1. make each of your gifs in their own individual files. you’ll be adding them into the main one later.  2. your gifs have to be the same length — you can cut them down to length in their own individual files or later in the main one. either way is fine, totally up to you!

now you have your layout set up, you can make and add your gifs! in order to make sure that they fit into the panels, check the dimensions of each shape you’ve created by selecting the layer and looking in the properties tab. my panels are each 268x268.

i’ll actually be making each of my gifs 270x270, just to make sure that i don’t have any weird gaps or anything (i’ll talk about how i’ll be getting rid of the 2 extra pixels on each side later).

once you have your gifs done, you can duplicate them into the main one. convert your gif and anything else (coloring etc) into a smart object (right click > convert to smart object), and then right click it and select “duplicate layer”. make sure the document you’re duplicating to is the one with your layout in it. 

layers automatically duplicate aligned into the top left corner. since this is where my first panel is, i can just leave my gif there, but for the other ones, drag your gifs into place using transform and your mouse (once again making sure that snapping is on). 

now to get rid of those extra pixels. this step also makes sure your gif is perfectly in line with the shape you’ve outlined the layout with. make sure your gif is right above the shape layer in the layers tab, and then right click and select “create clipping mask”. this makes sure your gif doesn’t go outside the limits of your guidelines. this is what it should look like in the layers tab:

「 step 4: exporting 」 exporting a layout gif is pretty much like exporting any other gif, but you do need to check your matte settings before saving. the wrong ones can make what should be the transparent dividers solid, which can throw off the look of your gifs. make sure matte is set to “none”, and then save as normal!

here's my finished gif:

happy giffing! feel free to send me an ask/message me w any questions!

[galindaelphaba]

hi! do u mind explaining how u did the square overlay in this set? thank u sm 🫶🏽

hi sorry for taking so long to answer. i hope this helps and makes sense (if you have any other questions feel free to ask or I could even send you the psd if you want). tutorial below the cut as it's image heavy :)

So basically I started with my 2 gifs at 540x540 pixels. This isn't essential, but I'll also note that when I crop the gifs I like to uncheck the "Delete Cropped Pixels" box so that I can move them around after cropping in case I don't like how it was cropped initially.

For this gifset I ended up putting the two gifs and their colourings in a group with clipping masks for the colouring layers (curves, vibrance, etc). Making the two gifs into smart objects would also work and would be my usual preferred method, but for this particular set it was easier to use the groups so I could keep the colouring of the you weren't a maybe speech.

Once the gifs are overlayed on top of each other only the top gif should be visible (as below)

To create the grid effect there are some tutorials for versions of photoshop which have a setting where you can just input the configuration you want (e.g 4x4) and it will draw up the guides for you. Here is the initial tutorial I saw showing how to do that and another one I found just now which outlines the exact same grid effect as in my set. This way is easier than the way I did it, but my photoshop doesn't have the option 😭

For mine I created a New Guide by following the menu path "View > New Guide"

This opens up a dialog box that looks like this

As the guide menu is in cm I doubled checked what the size of the canvas is in cm. A 540 x 540 px canvas comes to 19.05 cm. I wanted to draw a 4x4 guide, so to start I divided 19.05 by 4. This comes to 4.76, so I input this value into the box and clicked ok.

To draw the other lines I just added 4.76 to each previous line drawn so that the lines were even. The guides ended up being (4.76, 9.52 and 14.28). I then repeated the same numbers but with the Vertical orientation button selected.

This gives you a guide which looks like this:

To start exposing the other gif I grabbed the rectangle select tool and started selecting the areas I wanted to mask. The tool should snap to the guides so it is fairly easy to stay within the squares.

Then I just masked over it with a black paintbrush

I continued on with this until I was happy with how it looked - this was my final result

And this is how my layer mask looked

To draw the lines I then selected the line tool and set it to white and 2px. To draw them I held down the shift button, which allowed me to snap the line I'm drawing directly on top of the guides and continue with it as all one shape.

When you draw on top of the guides they go orange

I then toggled the guide off by pushing ctrl + ;

I checked to make sure all the boxes and lines were aligned properly and just cleaned up the gifs by using the selection box and masking until it was perfect (as I'm very type A)

I set the line layer to "Lighten" blending mode and an opacity of 70% as I thought it looked better.

Then I just added the text and moved it around how I pleased.

[jcmarchi]

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[graphicexpertsindia]

Unlock the Power of Photoshop: A Step-by-Step Guide to Creating Clipping Path Easily.

[outsourcingproductphotoediting]

Clipping Path: An Essential Tool for E-Commerce Photo Editing Services

Images play a crucial role in today's digital world, especially in industries such as E-commerce Image Editing Services, advertising, and graphic design. In the world of visual content, the quality and presentation of images can make or break a business's online presence. That's where image editing techniques come into play, and one of the fundamental tools used by proficient content writers and graphic designers is the clipping path.

A clipping path, in simple terms, is a technique used to remove the background of an image or isolate a specific object from its surroundings. It involves creating a vector path around the object's edges using specialized software like Adobe Photoshop. This path then acts as a mask, allowing the designated object to be placed on any background or integrated seamlessly into various designs.

Importance in Image Editing

Clipping path is a crucial aspect of image editing as it provides precision and flexibility in handling images. It enables content writers and designers to manipulate images, remove unwanted elements, and enhance the overall visual appeal, making it an indispensable tool for creating compelling content.

Types of Clipping Paths

Basic Clipping Path

The basic clipping path service is the foundation of all clipping paths. It involves creating a simple outline around an object with straight edges, making it ideal for objects with simple shapes like books, smartphones, or boxes.

Compound Clipping Path

The compound clipping path comes into play when an object has multiple holes or embedded transparency. This type of path requires more intricate techniques to ensure a seamless background removal services, commonly used for jewelry or complex product images.

Complex Clipping Path

The complex clipping path is the most intricate form and is used for objects with intricate shapes or multiple edges. Examples include furry animals, intricate clothing, or detailed machinery.

How Clipping Path Works

Tools and Software

To execute a clipping path, you need software equipped with suitable tools, and Adobe Photoshop stands out as the industry standard. The Pen Tool, in particular, plays a vital role in creating precise paths.

Step-by-Step Process

1.       Open the image in Adobe Photoshop.

2.       Select the Pen Tool and carefully trace the object's outline.

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4.       Once the path is complete, apply the clipping path to isolate the object.

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Photo Retouching

Clipping path services allow for easy photo retouching, enabling writers and designers to enhance the appearance of products or models by removing imperfections.

Background Removal

By removing the background using clipping paths, content writers can place objects on various backgrounds, creating a consistent and visually appealing look.

Creating Unique Image Effects

Clipping path services enable designers to apply various effects and filters to isolated objects, enhancing their visual impact.

Industries Using Clipping Path

Ecommerce Photo Editing Services

E-commerce Photo Editing Services websites heavily rely on clipping path services to present their products with clean and professional images.

Advertising and Marketing

In the advertising and marketing industry, Best Clipping Path Services are employed to create eye-catching visuals for promotional materials.

Graphic Design

Graphic designers use clipping paths to compose stunning layouts and designs, combining different elements seamlessly.

Photography

Photographers utilize clipping path techniques to improve their images and create unique effects during post-processing.

Choosing the Right Clipping Path Service Provider

Experience and Expertise

Look for service providers with a proven track record and expertise in handling various types of clipping paths.

Turnaround Time

Consider the turnaround time offered by the service provider to meet your project deadlines.

Pricing

Compare prices from different providers to find the right balance between quality and affordability.

Customer Reviews

Read customer reviews and testimonials to gauge the service provider's reliability and customer satisfaction.

Tips for DIY Clipping Path

Using Adobe Photoshop

Familiarize yourself with Adobe Photoshop and its Pen Tool to master the art of creating clipping paths.

Pen Tool Mastery

Practice using the Pen Tool to achieve smooth curves and accurate paths.

Refining Edges

Pay attention to refining edges to ensure the isolated object blends naturally with its new background.

Avoiding Common Mistakes in Clipping Path

Rushing the Process

Take your time to create precise paths and ensure high-quality results.

Ignoring Fine Details

Pay attention to small details, as they can make a significant difference in the final output.

Overdoing or Underdoing the Path

Maintain a balance between removing unnecessary elements and preserving essential details.

Future Trends in Clipping Path

AI and Machine Learning in Image Editing

The integration of AI and machine learning algorithms will revolutionize the image editing process, making clipping paths even more efficient and accurate.

Interactive Image Backgrounds

In the future, interactive image backgrounds may become a trend, enabling users to customize the visual environment of products.

Conclusion

Clipping path is an indispensable tool for content writers, designers, and photographers alike. Its ability to isolate objects, remove backgrounds, and create stunning visuals makes it a must-have in the world of image editing. Whether you opt for How to outsource clipping path service or decide to master the technique yourself, the impact of this tool on visual content creation cannot be overstated.

[alyss-erulisse]

Burger On The Grill

Part 19: Setting the Table--Final Touches

After completing the donut tutorial by Blender Guru, I was challenged to create something similar by myself, so I made a burger. I will make that burger into a meal with a soda and fries.

In the last part, I added a pile of fries. Now, I'll add the final touches to our scene with some background textures, stage lighting and camera effects.

Near the end of a project, there is always a tendency to fiddle around with details that seem to be craving further improvement. In my case, the bun, tomato and lettuce were calling out to me from uncanny valley.

The tomato still looked a bit like rubber or plastic, the lettuce looked like it was made of printer paper and the bun seemed like it might break your teeth if you bit into it. It turns out all of this can be fixed with a few adjustments to the textures.

Understanding Subsurface Scattering

The biggest adjustment needed to be to the Subsurface Scattering. An organic, porous surface will allow light to diffuse beneath the surface leading to a softer appearance.

There are 3 values of concern when it comes to Subsurface Scattering: amount, radius and color. This can lead to a lot of miscombinations when you are testing out values.

How do we choose values that give us the look we want?

Subsurface Color is visible on opaque parts and in shadows. The Subsurface Color can be fed the same value as the Base Color. Doing this avoids color mixing which can lead to unintuitive results.

That subtle tint of color that seems to bounce out of an object with subsurface scattering, which you probably thought was set with the Subsurface Color, is instead determined by the Subsurface Radius. The Subsurface Radius (aka Scatter Color) is visible on edges and translucent parts.

Add a RGB input node and choose your color. For bread, there is a mostly white but slightly yellow color. For lettuce, this color is slightly green. For a tomato, it is a bright, highly saturated red.

Plug this RGB input into the Subsurface Radius. The RGB values represent how deep each color frequency of light penetrates in meters.

The Subsurface amount is used to scale the radius down to realistic values. Values of around 0.01 are normal, since you're scaling from meters to millimeters. A good resource for choosing these values can be found here, where there is a chart of values for 11 different materials.

Fixing Black Articles

As with all things, fixing one problem often creates another. After adjusting subsurface values, the metaballs dew drops on the tomatoes deserted, refusing to appear in renders anymore, and black articles took their place around the edges of the lettuce.

I got rid of the metaballs and recreated the dew drops with the method I described in Part 16.

My dew drops had returned to the field, but what could be done about these jagged intruders?

There were two types of black articles. The first type looked like this:

When your transparency becomes black, you probably have more transparent layers on top of each other than your Cycles render settings currently allow. To fix it, go to Render Properties > Light Paths > Max Bounces and increase the number of Transparent max bounces. For me, increasing this value to 16 eliminated the black articles.

The second type of black article looked like this:

It can be frustrating to see these dark edges after you cleaned up an image in Photoshop and saved it as a PNG with transparency enabled. I learned a good deal more than I probably needed to know about image format and unassociated alpha while researching this problem.

There is an easy fix for this in Eevee, which I mentioned in Part 7. To clip off these unsightly edges, go to Materials > Viewport Display > Settings > Blender Mod > Alpha Clip.

In Cycles, the fix requires a little more math. The dark edges can be clipped by adding a Math node between the connection of the Alpha socket of the Image Texture and the Alpha socket of the Principled BSDF Shader. Set this Math node to Greater Than and let the Threshold be 0.5.

To further spruce up the lettuce, I fed the Image Texture into a Bump node with Strength of 0.2 and fed this into the Normal input. I also set Transmission to 0.275, Specular to 0.317 and Roughness to 0.4.

Now that the calls from uncanny valley have subsided, it is time to dress up the textures for the table and wall.

Texturing the Background

For the table, I downloaded a free texture from Poliigon for wood flooring. Since the table is mostly covered up but still in the foreground, I decided on a 2K quality.

I connected COL to Base Color, GLOSS to Specular and REFL to Roughness. I fed DISP through an inverted Bump node and into Normal. On the Mapping node, I Rotated Y 90deg and Scaled Y and Z by 50.

For the wall, I downloaded another free texture for bricks. Since the wall is in the background and will be later by blurred by the depth of field, I decided on a 1K quality.

Again, I connected COL to Base Color, GLOSS to Specular and REFL to Roughness. I fed NRM through a Normal Map node into Normal. Last, I fed DISP through a Displacement Node and into the Displacement socket of the Material Output.

Because I am using real Displacement this time instead of faking it with Bump, I actually have to add geometry for it to show up on the wall.

Add a Subdivision Modifier. Set it to Simple and check Adaptive Subdivision. If this option does not show up, go to Render Properties and set Feature Set to Experimental.

Understanding Adaptive Subdivision

Adaptive Subdivision is a great tool for adding microdisplacements, but it can get you in trouble when it comes time to render if you don't quite understand the numbers you are choosing for the Dicing Scale and Levels Viewport. I encountered 17 hour renders and even some that failed before I figured out what I was doing wrong.

It can help to visualize the subdivisions you are making before you press that render button.

Select the offending material and add the following node setup:

Add a Wireframe input node and connect it to an Emission shader. Use a Mix Shader to mix the Emission shader with the Principled BSDF shader you already made. Now white lines should should up over your material in the preview menu showing you just how many subdivisions you are set up for. You may want to check Pixel Size and adjust the Size to make the lines thinner and more sharp.

Make sure Levels Viewport is set to 0. I read that this value does not affect render, but this is not what my experimentation showed. When set to something other than 0, it seems to override the adaptive nature of the subdivision.

So that you aren't biting off more than your computer can chew with the Dicing Scale, head over to Render Properties > Subdivision and set the Viewport to match the Dicing Rate Render at 1px. Now, what you see is what you get.

Unless the microdetail is focused in the foreground of the image, you probably don't want a Dicing Scale less than 1px. Study the white wireframe overlay and trust your gut.

For the wall, I chose a Dicing Scale of 16px, for the serving paper, I chose a value of 8px, and for the fries, I chose a value of 1px.

Optimizing Memory for Render

The simplest way to save memory is by the use of linked duplicates. This is when several objects share the same mesh data. I only modeled 3 variations of fries, so I really only needed 3 meshes.

To convert the fries into linked duplicates, select a Small fry near the foreground of the image and rename the mesh to Fry_S. Select all of the Small fries, and make sure that the one with the renamed mesh is the active object. In Object Mode, hit Ctrl+L and select Object Data.

Now, all of the selected fries share the same mesh data. Do the same for the Medium and Long fries.

Since the fries were such a memory hog even after linking them, I sorted them into 3 groups: those hidden by occlusion from the camera, those mostly hidden from the camera, and those clearly visible.

The occluded fries could be disabled without any visible change to the render. For the fries mostly hidden from the camera, I removed the Adaptive Subdivision modifier, which removed the microdisplacement. I left the visible fries as they were.

The bubbles on the bottom of the soda could also be disabled since the bottom of the glass was occluded by the pile of french fries and would not be visible in the render.

All of these adjustments reduced the render time from 17 hours down to 1 hour! This shocked me but really drove home how much optimizing can save you in time and money; I was worried I'd have to buy more VRAM.

Improving the Lighting

So far, my scene has been rendered with pretty basic lighting: one point light and an HDRI.

I downloaded the HDRI of a small studio for the soda render in Part 15. I found it helped to define the glass against the background by highlighting the sides.

Under World Properties, click on the field next to Color and select Environment Texture. Open the Shader Editor, set the type to World and set up the nodes as in the image below. You can adjust the rotation and strength to your liking. I set the strength to 0.25.

Using the principle of 3 Point Lighting, I set up an area light as the key light with a power of 1250W and positioned it front-left of the scene. I chose a color with a red hue, low saturation and high brightness. This light casts a bright highlight on the glass.

For the secondary light, I set up a point light with a power of 5000W and positioned it front-right of the scene. I chose a color with an orange hue, high saturation and high brightness. This light adds a warm glow to the scene.

For the back light, I set up a spot light with a power of 100W and positioned it over the scene to cast its light down the brick wall. I chose a color with a red-orange hue, high saturation and high brightness. This light brightens the brick wall, increasing contrast between the wall and the dark soda glass in front of it. It also adds an interesting gradient to the background which serves to frame the scene.

Adding Depth of Field

In the renders so far, everything in the scene has been in sharp focus and filled with detail. It is a lot to take in, and most people won't have the patience to sit and stare at your image like you did while you were making it. They want to know the story in a glance, skim the cliff notes rather than read the novel. The artist can help with this.

To emphasize the focal area of the image, the camera can be set to blur other areas. The viewer's eye will be drawn to the area with the most crisp detail. This is called Depth of Field.

Select your camera. Under Object Data Properties, check Depth of Field. You can choose a Focus Object or set a Distance like I did. I set a Distance of 0.48m, which is about where the burger starts.

Most of the image becomes blurred, but what if you want to show off more of the detail you slaved over on the glass?

To enlarge your focal area and control how much of your image is blurred, go to Aperture and adjust the F-Stop. Higher values increase the area of focus. I set F-Stop to 11. The image at the top of this post shows the final effect.

This marks the end of this tutorial series. I am so glad to finally be done!

Follow me to keep watch for the final part. I will add a guide with links for fast access to all of the tutorial parts.

Review the previous part.

See overview for links to all parts of this tutorial series!

See more of my work: Check out my archive.

Join me on my journey: Follow me on tumblr.

Support my creative profession: Buy me a coffee on KoFi.

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Unlocking the Power of Adobe After Effects: A Creative's Dream Tool

Adobe After Effects is a game-changer for designers, animators, and video editors. This software opens up a world of possibilities for visual effects (VFX) and motion graphics, empowering creatives to bring their ideas to life in stunning, cinematic ways. Whether you're working on a Hollywood blockbuster, a YouTube tutorial, or an artistic project, After Effects is the perfect tool to enhance your content. Let’s dive into its many features and see how it can elevate your creativity.

What Makes Adobe After Effects Stand Out?

Adobe After Effects stands as the industry standard when it comes to creating motion graphics, VFX, and compositing. Its versatility and wide range of tools make it a go-to software for anyone looking to push the boundaries of visual storytelling. After Effects is designed for professionals and newcomers alike, offering intuitive interfaces and advanced capabilities to cater to all skill levels.

Powerful Motion Graphics

After Effects is known for its ability to create stunning motion graphics. Whether you’re animating text, graphics, or illustrations, the possibilities are endless. With powerful features like keyframing, easing, and path animation, you can easily control the movement and style of elements. It’s the perfect platform to design dynamic and eye-catching animations.

Advanced Visual Effects (VFX)

For those working with video, After Effects excels in adding breathtaking visual effects. Whether you're creating explosions, integrating CGI elements, or enhancing color grading, After Effects provides the necessary tools to make your footage look professional. It supports 3D compositing, chroma keying (green screen), and advanced tracking, all crucial for seamless VFX work.

Seamless Integration with Other Adobe Products

One of the strongest features of Adobe After Effects is its smooth integration with other Adobe Creative Cloud tools like Adobe Premiere Pro, Photoshop, and Illustrator. This interconnectivity ensures that your workflow remains efficient. You can easily import assets from Photoshop or Illustrator, and the round-trip workflow with Premiere Pro allows for seamless video editing, giving you a cohesive creative process.

Why Adobe After Effects is Essential for Creators

Enhance Your Videos with Stunning Animations

For video creators, After Effects is essential for creating engaging animations. Whether you're designing intros, lower thirds, transitions, or visual storytelling elements, After Effects makes it easy to take your videos to the next level. Its powerful tools allow you to manipulate and animate objects with precision, creating content that stands out.

Create Professional-Grade VFX

With After Effects, you can turn your footage into something extraordinary. Advanced features like 3D camera tracking and particle simulations allow you to add realistic effects that blend perfectly with your video. Whether you’re working on sci-fi, fantasy, or dramatic sequences, After Effects makes it possible to achieve stunning results.

Edit and Composite Like a Pro

After Effects is not just for animators; it’s also a powerful compositing tool. You can layer multiple video clips, apply masks, and create complex composites that blend perfectly with each other. For professional video editors, After Effects provides the tools needed to fine-tune every detail, making your video look polished and seamless.

Getting Started with Adobe After Effects

Easy-to-Learn for Beginners

While After Effects offers a range of complex features, it is also beginner-friendly. Adobe offers a wealth of tutorials, templates, and resources to help you get started. The software’s interface is intuitive, allowing you to quickly learn the basics and gradually explore more advanced techniques as you gain experience.

Expansive Community and Resources

After Effects has a vast community of users, which means a wealth of tutorials, forums, and plug-ins are available to help you learn and grow as a creative. Whether you need advice on a specific effect or want to learn how to speed up your workflow, you’ll find resources and support within the After Effects community.

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How to Land a Clipping Path Job: A Guide for Photo Editing Enthusiasts

The rise of e-commerce and digital marketing has significantly increased the demand for photo editing and image postproduction services. Companies and entrepreneurs are always on the lookout for skilled professionals to enhance the quality of their product images. One specific service in high demand is clipping path, a fundamental technique used for background removal, object isolation, and other image manipulation tasks. If you're wondering how to secure a clipping path job, here’s a comprehensive guide to help you succeed in this field.

1. Understand the Role of a Clipping Path Professional

Clipping path services are essential for creating clean, professional images, whether it’s for e-commerce platforms like Amazon or fashion catalogs. As a professional, your tasks might include background removing services, ghost mannequin editing service, or working on intricate image manipulation projects. These skills are critical for creating polished visuals that attract customers.

2. Build Your Skills in Photo Editing

To secure a job, you need to master tools like Adobe Photoshop and Illustrator. Familiarize yourself with:

Clipping Path Techniques: Learn how to use the pen tool to create precise paths around objects.

Image Postproduction Services: Expand your knowledge of color correction, shadow creation, and retouching.

Ghost Mannequin Editing: Perfect your ability to create a 3D effect for apparel photography.

Background Removing Services: Practice isolating objects while preserving edge quality.

Online tutorials, courses, and practice projects can help you improve your expertise in these areas.

3. Create a Strong Portfolio

A compelling portfolio is your ticket to landing a job. Include a variety of work samples that showcase your skills in different areas such as clipping path, image manipulation service, and Amazon photo editing service. Make sure your portfolio demonstrates versatility and attention to detail.

Use platforms like Behance, Dribbble, or your own website to display your work. Highlight before-and-after images to show the impact of your editing.

4. Work with a Photo Editing Service Provider

Many companies specialize in offering clipping path and image post production service. Joining such a team can be a great way to gain experience. Look for reputable clipping path service providers or photo editing service providers that frequently hire skilled editors.

These companies often work with clients in various industries, including fashion, e-commerce, and advertising, giving you diverse exposure.

5. Freelancing Platforms Are Your Friend

If you prefer working independently, freelancing platforms like Upwork, Fiverr, and Freelancer are great places to find clients. Create a profile that highlights your expertise in services like ghost mannequin editing, background removing, and image manipulation. Use keywords strategically in your profile to ensure clients can find you easily.

Offer competitive pricing initially to attract clients and build your reputation. Positive reviews and consistent performance can help you secure long-term projects.

6. Network in the Industry

Networking can open up opportunities for clipping path jobs. Join online communities, forums, or social media groups where photo editing professionals and businesses interact. Connect with photographers, designers, and e-commerce businesses who might require your services.

7. Market Yourself Effectively

Marketing is crucial to stand out in a competitive industry. Use social media platforms like Instagram and LinkedIn to showcase your work and attract potential clients. Publish posts and blogs about clipping path techniques or photo editing tips, incorporating relevant keywords like "clipping path service provider," "image post production service," and "background removing service" to improve your SEO visibility.

8. Provide High-Quality Work and Excellent Service

To succeed in this industry, quality and reliability are key. Always deliver projects on time and maintain open communication with clients. Whether you're offering Amazon photo editing services or working on a ghost mannequin project, consistent quality will build your reputation and lead to more opportunities.

Conclusion

Securing a clipping path job requires a mix of technical skills, a strong portfolio, and effective networking. By mastering essential photo editing techniques and actively marketing yourself, you can land roles with photo editing service providers or even build your own client base. With dedication and continuous learning, you'll thrive in this ever-growing field.

Contact Us:

Website: https://www.orbitclippingpath.com/

Facebook: https://www.facebook.com/orbitclippingpath

Contact : https://www.orbitclippingpath.com/contact-us/

Resources: https://www.orbitclippingpath.com/blog/

Portfolio: https://www.orbitclippingpath.com/portfolio/

Twitter: https://x.com/orbitclippingbd

Quote: https://www.orbitclippingpath.com/request-for-quote/

Linkedin: https://www.linkedin.com/company/orbitclippingpath/

Office Address 

                147/3 Monipuripara, (Gate no-7)

                Tejgaon, Dhaka-1215.

                Call: +88 017 1202 3460

                Email: info@orbitclippingpath.com

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Chapter 15

Describe the difference between linking and embedding in Illustrator.

A linked file is an external file connected to the Illustrator file by link and doesn't significantly increase its size. It must be included with the Illustrator file to keep the link. An embedded file becomes part of the Illustrator file, increasing its size, and cannot break the link. You can update both types of files using the Relink button.

How do you show options when importing images?

Check the Show Import Options box when using the File > Place command to add an image. This will open the Import Options dialog, allowing you to set preferences before placing the image.

What kinds of objects can be used as masks?

A mask can be a simple or compound path. Opacity masks can come from placed Photoshop files.

How do you create an opacity mask for a placed image?

Create an opacity mask by placing the object to be used as a mask on top of the object to be masked.

Describe how to replace a placed image with another image in a document.

o replace a placed image with a different image, select the image in the Links panel.

Summary: Chapter 15 focuses on working with graphics in Adobe Illustrator. It teaches how to place linked and embedded images in a file, as well as how to transform and crop these images. The chapter covers creating and editing clipping masks, using text to mask an image, and making and editing opacity masks for advanced visual effects. Additionally, it explains how to use the Links panel to manage images effectively and how to embed and unembed graphics within a project.

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Professional Clipping Path Services for Your Images

Have you ever wondered how images look so flawless in magazines, online stores, or social media? It’s no secret – professional clipping path services play a huge role in making that happen! Let’s dive into what clipping path services are and why they’re so important for anyone who works with images.

What Are Clipping Path Services?

In simple terms, a clipping path is like a digital cutout. Imagine taking a pair of scissors and neatly cutting out the subject of an image from its background. A clipping path service does this but with digital tools, making it far more precise and versatile.

Why Do We Need Clipping Path Services?

Many industries rely on professional-looking images. Whether you’re in e-commerce, advertising, or photography, having clean, high-quality visuals can make or break your brand. By using clipping path services, you can remove unwanted backgrounds, highlight products, and ensure your images look exactly as you envision.

Benefits of Using Professional Clipping Path Services

1. Improved Visual Appeal

In the world of images, appearances matter. By removing cluttered backgrounds, clipping paths help the main subject stand out, enhancing the visual appeal and making images look professional.

2. Time and Effort Savings

Editing photos can be time-consuming, especially if you’re not experienced with photo-editing software. A professional clipping path service saves you time and effort by handling all the background removal work, allowing you to focus on other tasks.

3. Boosted Brand Image

For businesses, high-quality images reflect a professional and trustworthy brand. With clipping paths, your product images look polished and appealing, which can attract more customers.

Types of Clipping Path Services

Different images require different techniques. Here are some common types of clipping path services that professionals offer:

1. Basic Clipping Path

This is for images with simple edges, such as a box or a phone. The process is straightforward and is often used for products with regular shapes.

2. Complex Clipping Path

This technique is used for objects with intricate edges, like a bicycle or a model’s hair. It takes more time and precision but yields stunning results for complex shapes.

3. Multi-Clipping Path

If you have images that need multiple parts highlighted or adjusted, like changing the color of different parts of a product, this is the technique for you. It’s popular in e-commerce, where various elements of a product need separate editing.

How Professional Clipping Path Services Work

Step 1: Image Analysis

The process starts with analyzing the image to determine the best approach. This step helps professionals understand whether a basic or complex path is needed.

Step 2: Creating the Path

Once the approach is clear, a digital path is created around the subject using advanced tools like Adobe Photoshop. The path is carefully traced to capture every detail of the subject’s outline.

Step 3: Final Touches

After the path is created, it’s time for final adjustments. The background can be removed, replaced, or made transparent, depending on your needs.

When Should You Consider Hiring a Clipping Path Service?

If you find yourself dealing with large volumes of images or struggling with complicated edits, hiring a clipping path service could be the perfect solution. Here’s when you might want to consider it:

E-commerce Stores: High-quality images are essential for online sales.

Professional Photographers: For photographers looking to focus on shooting rather than editing.

Marketing and Advertising: Eye-catching images can boost ad performance and brand recognition.

DIY vs. Professional Clipping Path Services

DIY Clipping Paths

If you have basic editing skills, you might try doing clipping paths yourself. However, DIY clipping paths may not provide the level of precision needed for professional results. You’ll also need software like Photoshop and a lot of time to refine the edges properly.

Professional Clipping Path Services

Professional services have the tools and experience needed to create flawless paths. They’re equipped to handle complex projects and ensure each image looks perfect. While it’s an investment, the quality difference can make it worth every penny.

Key Features to Look for in a Clipping Path Service Provider

When choosing a clipping path provider, here are some features to consider:

Quality Assurance: Check if they offer quality checks to ensure precise clipping paths.

Fast Turnaround Times: Especially important for businesses needing images on tight deadlines.

Affordable Pricing: Compare pricing models to find a service that fits your budget.

Customer Support: Reliable support can be crucial if you have questions or need help with orders.

Conclusion

In a world where first impressions count, professional clipping path services can make a significant difference in how your images are perceived. They save you time, enhance your brand, and create visuals that captivate your audience. Whether you’re running an online store or a personal blog, investing in clipping path services can take your images to the next level.

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clipping path

A clipping path is a technique used in graphic design and photo editing to create a vector path that defines which parts of an image should be visible and which should be hidden. Here’s a detailed overview of clipping paths:

What is a Clipping Path?

Definition: A clipping path is a vector shape that acts as a mask, allowing only the areas inside the path to be visible while hiding everything outside.

Usage: Commonly used in image editing software like Adobe Photoshop and Illustrator.

Applications

Product Photography: Useful for e-commerce to isolate products from backgrounds, making them stand out.

Graphic Design: Helps in creating collages, banners, and advertisements by layering images.

Web Design: For creating transparent images that fit seamlessly into various backgrounds.

How to Create a Clipping Path

Select the Tool: Use the Pen Tool in Photoshop or Illustrator.

Draw the Path: Click to create anchor points around the subject you want to isolate. Use curves for more complex shapes.

Close the Path: Ensure the path is closed to form a complete shape.

Create the Clipping Mask: In Photoshop, select the path and apply it as a mask. In Illustrator, you can use the “Make Clipping Mask” option.

Tips for Effective Clipping Paths

Precision: Take your time to create a clean, precise path, especially around intricate details.

Zoom In: Work at a zoomed-in level for better accuracy.

Refine Edges: Use feathering or smoothing options if necessary to soften the edges of the clipping path.

Alternatives

Layer Masks: In Photoshop, layer masks provide similar functionality and allow for non-destructive editing.

Quick Selection Tool: For simpler images, this tool can help create selections quickly, though it may lack the precision of a clipping path.

Conclusion

Clipping paths are essential for anyone working with images in design and marketing. They enhance the visual appeal of images and are crucial for professional-quality graphics. If you have any specific questions about creating or using clipping paths, let me know!

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This easy tutorial on clipping paths in Photoshop will teach you how to create professional-looking product photos. It will also walk you through the step-by-step process of isolating your subject and removing unwanted backgrounds. This tutorial is perfect for e-commerce sellers, graphic designers, and photographers.