Arturo Michel Pérez Salazar Alfa-200

como hacer fondos de pantalla?

2009-10-31T09:05:00.000-07:00

Final Image

This tutorial will show you how to create an image similar to this:

Step 1

Start by creating a new document, here I used 1024×768px and 72dpi. Using the paint bucket tool (G) fill the background layer with black, alternatively you could use a dark gradient instead. Click the brush tool (B) then change the settings of this brush to a 1px round, white brush with 0% hardness. Create a new layer then select the pen tool (P) and in the main toolbar make sure paths is selected, now start slightly outwith the canvas on the left then using about four points draw a curve with a similar shape to the one below. Right click anywhere inside the document then select stroke path, make sure simulate pressure is checked then hit OK. Lastly hit the Esc key twice to get rid of the path.

Step 2

Now hold Ctrl and click on the layer with this curve in it, in the layers panel, this should make a selection around the line. Next go edit>define brush preset and save that curve as a brush. You can now hide this layer by clicking the eye next to it in the layers panel. Select the brush tool again then bring up the brush settings by going window>brushes. Choose the brush that you just made then use the same settings as below.

Step 3

Create a new layer to hold our lines. Okay we now want to use this brush to create the lines in the picture so first drag from the left of the canvas to the right until you end up with something that resembles the image below. Not that each line is slightly different, this is because in settings we made it change angle and roundness.

Step 4

Now we will make the lines glow so right click on this layer in the layers panel then select blending options. Use the settings shown below for a drop shadow and an outer glow. Note that although we used a drop shadow we are still using it to create a glowing effect this is because we changed the blend mode of this effect from multiply to normal.

Step 5

Right click this layer then select duplicate layer to make an exact copy. Now go into the blending options for this layer and the only thing we want to change is the gradient to the the other rainbow one because you will notice there are two different rainbow gradients, one has transparent edges and one doesn’t.

Step 6

Optionally now you can blend out some of the ends of these lines by either using the erasor tool on both layers or a better way to do it would be to put both these layers in a new group then create a layer mask a paint it out some parts. If your happy with your image then skip on over to the next step.

Step 7

Here I added some beads on the line, this can be done using the same technique from step 3 to step 5 except use a small 2px or 3px round brush instead of the brush that you made yourself.

Step 8

Now create a new layer and select a large soft brush then change the foreground color to a bright color and brush some random shapes. Repeat this with a few diifferent colors to end up with an effect like this.

Step 9

Next go filter>blur>gaussian blur and use a value of around 100px then change the blend mode of this layer to color. I’ll let you decide what opacity this layer should be but I used about 50%.

trucos de photografia

2009-10-31T09:04:00.001-07:00

Wildlife Photography Tips: Take Better Wildlife Photos

This post describes some basic tips to improve the quality of wildlife photography. Anyone interested in capturing more compelling images of animals will find it useful in furthering the development of their skills.

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Your Rights as a PhotographerDon’t find yourself in a situation where you could face legal action. Understand your rights, and your responsibilities as a photographer, as well as the importance of Model Releases.
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Photography Troubleshooting: No More Bad PhotosRunning into problems when taking photographs over, and over again? Here’s a handy guide that will help you troubleshoot your problems, and improve your shots all at once!
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Crop Factor (Focal Length Multiplier)The Crop Factor is a term that can be heard quite often in the world of digital photography. What does it mean that a camera has a crop factor of 1.6x and how does it affect your focal length? We try to untangle this issue and describe it as clearly as possible.
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Before you Buy: Choosing a Camera BagCamera bags can be one of the most difficult pieces of equipment to choose. No camera bag is made to fit every occasion so I will here talk about some different types of bags and cover a few points to consider.
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Photography: Little Known Ways to Avoid Problems in the FieldPhotography is all about preparation. Instead of running into problems when you’re out shooting, understand some easy ways of tackling the more common problems you may run into!
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Digital Adjustments & Development

Back in the old days with 35mm film the photographer had his darkroom where he developed the film, in our day and age the computer has taken over the role. This article will deal with some of the adjustments you can use to develop your photographs in the digital darkroom.

efecto luz Photoshop CS4

2009-10-31T09:02:00.001-07:00

Magic lighting effect in photoshopListThumbs

Magic lighting effect in photoshop

March 28, 2007

Português

Since my last article on how to create smoke generated lots of traffic, I decided to write another one on some of the photoshop effects. Although I use Photoshop on a daily basis, I am by no means a photoshop expert.

Well what I want to show here is how to create a nice light and magic effect.

1 - Create a radial gradient, in this case from a purple to a really dark purple

2 - Here I added a really cool Icon of a magic hat from the Crystal Clear Collection by Everaldo

3 - Add some text, I used the source code of a site to get the text and apply the Distort >Wave filter

Create two stripes of text

4 - Rotate and place the text

5 - Add some light using glow : Use different values for each line of text, the secret here is the blending option COLOR DODGE..

Change the values of Spread, Size and Range

6 - Group the 2 lines of texts and with one apply a mask to make the stripes disappear at their ends.

7 - With the other group of text apply a gaussian blur, after that delete some parts to show the non-blury text.

This will add a movement feel to the text, like they are really being magically created.

8 - Create a new layer below the text and with a regular big brush like 100px add a spot of light in white.

The layer must be below the text, otherwise the glow will not affect the white spot

9 - Make some smoke again, I used the eraser, I could've used the liquify as well

10 - Create a cloud: to do that make use a marquee with feather set to a value bigger than 20 and apply the render>clouds holding the command key(mac), ctrl key(win).

The same as the previous post, and the most important thing apply the COLOR DODGE blending options on it

11 - Sparks: For the sparks create a brush, play with the shape dynamics, scattering, and other dynamics. After that, apply a Outer Glow and Inner Glow to create the magic effect.

End - The result is really simple but at the same time it looks beautiful.

efecto increible photoshop CS4

2009-10-31T09:00:00.000-07:00

You don’t have to be an obsessive Coldplay fan like me to admire the beautiful effects shown in the latest Coldplay / Apple ad. This tutorial will show how to design portraits based on that style.

Coldplay / Apple Style Portrait

This tutorial will show you how to create a portrait based on the style of the latest Coldplay / Apple Ad featuring “Viva la Vida” from Coldplay. In case you’re not familiar with the commericial I’m referring too, findthatsong has uploaded a copy of it onto YouTube.

Here’s a quick look at what we’re going to create:

Before going any further, I’d like to give a quick shout out to Fabio who wrote an awesome tutorial for a similar effect based on the same ad. Maybe I’m not the only Coldplay fan out there!

Time to begin!

Step 1 – Create the Document

Begin with a document sized to your liking. I’m working at around 750×450px myself, but the exact size really doesn’t matter.

What does matter is the background color though. Using the Paint Bucket Tool, fill your background layer with a dark (nearly black) green or blue (#010500).

Step 2 – Adding Light

Create a new Layer.

Using a large, white, soft brush (500-1000px, 0% Hardness), paint the lower part of your image. The brush should basically extend from the very bottom of your canvas in all direction to the other edges of the canvas.

Lower the Opacity of your new layer to around 70%.

Step 3 – Coloring the Light

For this step, we’re going to be playing with a similar effect that I discussed in my Unique Abstract Website Header Photoshop Tutorial. Create a new Layer, and select a large (400-600px), soft, orange (#f38c11) brush. Paint a large dab to fill the bottom right of the canvas.

Now select a light blue (#2afaf0) and paint in the bottom left of the canvas.

Finally, fill in the top center of the canvas with a shade of purple (#c94ce1).

Set this layer to Overlay.

Step 4 – Adding some Highlights

Create a new Layer.

Using the Brush Tool, and a small (30-60px) soft, white brush, paint a few lines curving around the center of your canvas. Apply a Radial Blur (Filter > Blur Radial Blur), using the Spin blur method with an amount between 50-70. Set this layer to Overlay.

Step 5 – Insert Photo

Time to add a photograph of our subject into the portrait. Going over the process of cutting out a subject is out of the scope of this tutorial, but I will suggest using the Pen Tool to prepare such a cutout.

When you have a cutout prepared, Paste it into a new layer in your document. Line it up so that the highlights seem to be coming from behind it.

Destaturate (Images > Adjustments > Desaturate) the cutout so that the subject is black and white on top of the colored light we created earlier.

Step 6 – Dodge and Burn

In the Coldplay / Apple commercial, the subjects are nearly silhouetted with the light bursting out from behind them. However, the photo I chose is pretty clear, as if there is a light source in front of the subject.

If you have the similar problem on your image, you can fix it using the Dodge and Burn Tools.

Grab the Burn Tool (Located underneath the Paint Bucket Tool) from the toolbox, and in the Options Bar, set the Range to Shadows. Using a large, soft brush, paint over most of your subject to darken it. I’m going to leave a bit of the right side of my subject lit up to show that there is some light reflecting off of him.

You can go back with the Dodge Tool to bring out some brighter highlights if you find it helps light up part of your subject.

Step 7 – Adding the Smoke Effect

There are a few ways we could go about creating smoke in our design (We actually featured an interesting smoke effect in our May Tutorial Roundup), but in this tutorial we’re actually going to use a stock image.

Download the “smoke” stock image from stock.xchng (Requires a free account).

Paste and Transform the smoke stock image so that it’s positioned and sized somewhere over your subject. Set the blending mode for this new layer to Screen.

Screen Blending Mode

Confused about what just happened? The Screen Blending Mode can be very handy sometimes, as any pixels that are black will essentially become transparent in the blended layer.

Step 8 – Adjusting Smoke Color

Using any of the Selection Tools (Magic Wand Works Great), select the smoke from the stock image. Apply a feather to the selection (Select > Feather) of a 1-3px to soften things up.

Create a new layer, and using the Paint Bucket Tool, fill your selection with a light blue/cyan (#28dff5). Set this layer to Color.

Step 9 – Enhancing the Background

Duplicate the Smoke layer (not the color, but the smoke layer – Layer > Duplicate Layer while selected), and move the new layer underneath your subject layer.

Transform the new smoke layer so that it takes up a lot of the background behind your subject. Set this new layer to Color Dodge. You may wish to also apply a slight Guassian Blur to this layer.

Step 10 – Add Dark Lines

Create a new layer underneath your subject. Using the Rectangular Marquee Tool, make a long selection spanning about the width of your canvas.

Fill the Selection using the Paint Bucket Tool with a dark color (black will work fine).

Deselect your selection by going to Select > Deselect (Or Ctrl + D).

Now, Transform your black rectangle (using Free Transform, Scale, Rotate, Perspective, or any mix of those you are comfortable with). We want the side of the bar that is going to be underneath our image to be more narrow than the end coming out of our subject (similar to a sunburst effect).

Use the Move Tool to reposition your bar. Set the blending Mode to Overlay. You may consider fading your bar out like I did with a large, soft eraser.

Add a few more of these bars using the same technique.

Time for Polish

At this point, you’ve finished the effect we were aiming for! You don’t have to stop here of course. If you’re going to continue playing with the design, and adding your own finishing touches, here are a few suggestions that may get you started:

Add a Vignette – Fade out your borders to a dark black color. Since we’re designing a portrait in this tutorial, it’s a really nice way to frame your subject!
Add some abstract dust – We’ve got a brilliant Photoshop tutorial for adding Abstract Dust and Spray Effects to designs like this which you may be interested in!
Play with Text – Some clever text placement can really add a lot to a design! White text seems to look really great on top of this effect, especially if you’re using a blocky Type.

As usual, you can grab the PSD Sample to play with and see how we went about doing certain things!

And here is another example of the style put to good use!

Crear una imagen para fondo Windows Vista

2009-10-30T17:45:00.000-07:00

Final Image Preview

Before we get started, let's take a look at the image we'll be creating. Click the screenshot below to view the full-size image. As always, the layered Photoshop file is available via our PSDTUTS Plus membership.

Step 1

Start a new screen sized document in Photoshop. In this case, I chose 1024px by 768px resolution so I can see the whole thing without scrolling. Fill the background with black color. Then pick the Polygonal Lasso Tool, and choose a part of the document. Then use the Gradient Tool to draw a gradient from white to transparent into new layer. Repeat this several times (always into new layer).

Step 2

To make the background less expressive, turn the Opacity down.

Step 3

Merge the layers together (Ctrl + E). Then blur them with the Gaussian Blur filter. A small preview of whole document follows.

Step 4

To make it more expressive in some places continue drawing radial gradients from white to transparent.

Step 5

Turn its opacity to a hardly remarkable level.

Step 6

Well, there is never enough white to transparent gradients, right?

Step 7

Just don't forget to turn the opacity down wisely.

Step 8

You can make the background more interesting by copying all the layers and flipping them (Ctrl + T), or move them a little.

Step 9

256 shades of grey aren't enough for this gentle manipulation.

Step 10

That is why we should merge the layers together, and blur them again a little. That is what solves the rough gradients, but another problem arises - the picture darkens on the sides, and the dark parts make strange "waves."

Step 11

This can be fixed with a larger document than the screen resolution, or add a frame that is wide enough. And remember that for next time. That is how we solved random gradients on a background.

Step 12

Now we can start doing the foreground with blue and green curves. Start with drawing a huge ellipse with the Ellipse Tool. Pick the Path Selection Tool (A). Then select the ellipse, copy it (Ctrl+C), then insert it (Ctrl+V), and then transform it (Ctrl + T) to make it smaller. Set the drawing style for this path to subtract, so we see only what is between these two ellipses.

Step 13

Fill the layer with a blue color (#62AAF4). Then copy, move, enlarge, make it smaller, and turn the Opacity down or up. Do this a few times.

Step 14

Then repeat these actions with the green (#20EDC4) shapes.

Step 15

Next I decided to darken the gradients in the background a little, as they get too much attention. This should be better.

Step 16

Continue with creating larger curved shapes. Then blur those shapes, which will give that extra glow effect. Notice the big blue curves being created in the image below.

Step 17

Next we'll make big curve shapes for the greens as well. Those big shapes are the previous ellipses copied. Then with Path Selection Tool, we select one smaller ellipse that gets smaller again. See the image below.

Step 18

The colors of those shapes are still the same, just the Opacity is turned down. Sometimes, the opacity is turned down to a hardly noticeable level of (5-10%), as shown below.

Step 19

Place all the blue and green layers into a new folder. Then copy that folder, move it sideways, and turn it a little.

Step 20

Let's get started with the lighting part. The first step is to change the layer's interaction to Linear Dodge .

Step 21

The second step is to add the layer effect of Drop Shadow. Set it to a large size with the color the same as the shape in the layer (blue, green). Also, set the interaction to Linear Dodge again.

Step 22

I don't have enough green layers in the document, so I copy some more.

Step 23

Copy the layer styles to every blue layer (just change the effect color to blue). Part of the design is shown in the following image, which is the result we want so far.

Step 24

To achieve the bright glowing light look, we need to repeat the same things over and over again. You can use the previous big layers, merge them together, and set their interaction to Linear Dodge. Then you can add a mask layer. Then go to Filter > Render > Clouds in this mask. That makes the layer visible in only some places.

Step 25

If you make all layers visible, the result becomes more expressive.

Step 26

We can do the effect manually as well. For example, create a new Adjustment layer with the Brightness & Contrast turned up. Fill the layer mask with a black color, which makes the effect visible nowhere. Then start drawing in the mask with a white soft brush. The brush revels the effect. It increases the brightness only where you want it to. This technique may be used for the final brightening of both the blue and green curved shapes.

Step 27

Here is the preview at 100% size. Using the adjustment layer generates good looking overburns.

Final result

Your image is complete. Again, do not hesitate to experiment. You are only limited by your computer performance. Click the following picture to see the result at 100% in 1024px by 768px resolution.

Conclusion

It is not difficult to change the final resolution because every single layer was larger than the document window. Either you can enlarge the document size (shapes are in vectors, so there are no quality defects), or you can enlarge the canvas size (the layers stay the same, but you make visible the parts that were hidden before).

Canvas size manipulation was used when preparing the following picture at 1280px by 1024px resolution. This one deserves some adjustment, but it's up to you now. Good luck with your work!

increible efecto

2009-10-30T17:43:00.000-07:00

Flying Girl in PhotoshopListThumbs

Flying Girl in Photoshop

November 17, 2008

abduzeedo's blog

A few weeks ago I published a tutorial called Girl in Tempo. I used the new version of Pixelmator that had the codename Tempo. The result was really nice and I got a very positive feedback, and, also some emails asking me to do that tutorial in Adobe Photoshop. So yesterday I took a couple of hours to create the Photoshop version of my flying girl.

In this tutorial we will use some stock photos and mix them together to create a nice effect. It was inspired by a chapter of the depthCORE collective called NOIR.

Step 1

Create a new document in Photoshop, as usual I used 1920x1200 pixels. Then select the background layer and add a layer style, go to Layer>Layer Style>Gradient Overlay. Use Radial for the Style, and Scale 62%. You will have to position the gradient later on as well, but try to move it a bit to the left, use the image below for reference.

Step 2

Here I used a photo from iStockphoto, http://www.istockphoto.com/file_closeup.php?id=6178363. You can use any photo. Just extract the girl from the background and place it in the center. Try to position her right hand in the center of the gradient.

Step 3

Duplicate the girl's layer and hide one. Select the visible layer and go to Image>Adjustments>Hue/Saturation. Reduce the Saturation to -100. You will have a grayscale photo.

Step 4

Duplicate the hidden layer with the color girl layer. This layer has to be in front of the grayscale layer. Change the Blend Mode to Color Dodge and go to Filter>Blur>Motion Blur. Use 90º Angle and 100 pixels for the Distance.

Step 5

Duplicate again the color copy of the girl layer. Then move it to the top of the others and change the Blend Mode to Overlay. After that go to Filter>Blur>Gaussian Blur. Use 7 pixels for the Radius.

Step 6

Select the color girl layer, the one that is behind the others and just add a Gaussian Blur, use 40 pixels for the Radius and change the Blend Mode to Color Dodge. As this layer will be behind the others it will create a nice outer glow when we start adding lights and other effects.

Select the 4 layers we created for the girl and group them. Rename the folder to "girl".

Step 7

Select the Gradient Tool (G) and then go to the Gradient Editor. Just click on the gradient colors. Change the Type to Noise, Roughness to 100% and for the Options select Restrict Colors and Add Transparency.

Step 8

Create a new layer on top of the others and with the Gradient Tool and the gradient you have just created, select the Angle Gradient Style. Then just starting for the girl's right hand fill the layer with the gradient. You will get an effect like the image below.

Step 9

Go to Image>Adjustments>Desaturate. Then go to Filter>Blur>Gaussian Blur. Use 4.5 pixels for the Radius. Change the Blend Mode to Color Dodge and go to Image>Adjustments>Levels. Increase the white so the rays are brighter. Also with the Eraser Too (E)l, or mask. Delete some areas of the layer, leave just the area close to the hand and the background's gradient.

Step 10

Create a new Folder and rename it to Light, this folder has to be on top of the others. Change the folder's Blend Mode to Color Dodge. Inside this folder create a new layer and with the Brush Tool(B), use a basic round brush, very soft (0% hardness), and white color. Paint the area in the girls hand. You will get a nice light effect.

Step 11

Now lets add some lights behind the girl. Create a new layer and with the Brush Tool (B) change the opacity to 5%. Using a soft brush with white, paint a very subtle area behind the girl.

Step 12

Now select a blue color and with a bigger brush, create a new layer and paint a blue light coming from the top.

Step 13

Here let's use another photo, you can download it at http://www.sensitivelight.com/coloured_smoke0D0T9227.jpg. Just place it in the document. Resize and rotate it the way you want and change the Blend Mode to Color Dodge. Use the image below for reference.

Step 14

Let's do the same thing with another photo, this time a photo of some clouds I took sometime ago, you can download it at http://flickr.com/photos/azeected/2917610951/. The first thing to do is go to Image>Adjustments>Desaturate. Then go to Image>Adjustments>Levels. Increase the blacks until you get a full black background. Then change the Blend Mode of the photo to Screen. What was black becomes transparent and we're good to go ;)

Step 15

Here you just duplicate the cloud's layer and create more instances of that. Resize and rotate them so you can get better results. Also, place one cloud behind the girl to give some depth to the image.

Step 16

Once again, let's use a photo to create the stars, you can download it here. You can create them using the Noise, but as there are so many excellent photos of that subject on the internet that sometimes it's not worth spend time creating something from scratch, at least in my humble opinion. Place the photo in the document and change the Blend Mode to Color Dodge.

Step 17

Repeat the Step 8 and 9 to create another Angle Gradient. This time start from the the girls right foot. Then with the Eraser Tool or Mask, delete almost all layer, leave just the top part over the blue light. That will work like some rays of light coming from the top. Also if you want to make the lights brighter just duplicate the layer. I duplicated 2 times, so there are 3 layers for that light.

Step 18

Here I used a image I created in Cinema 4D that is like an explosion full of particles, you can download it here. Place the image and then go to Filter>Blur>Radial Blur. The most difficult thing here is find the right position for the Blur Center because the idea is that the center is the girls hand with that shine light. I recommend you to convert the layer to Smart Objects so you will be able to edit the blur anytime until you find the right place. Use 10 for the Amount, Zoom for the Blur Method, and Best for the Quality.

Conclusion

You can add a layer on top of the others with a bit of noise just to give to the image a bit of realist feeling. The process is quite similar to the Pixelmator version, of course each tool has some pros and cons, but the best thing is that the idea of the filters and blend modes are the same. Actually all these types of tools share the same sort of base so if you know one it's pretty easy to learn and use another. That's why I say that the tool is the least important part of the design process.

Click here the see the Full Preview.

2009-10-20T18:12:00.000-07:00

ebbudy

2009-10-18T18:12:00.001-07:00

Efecto Iluminacion de Texto

2009-10-18T11:35:00.001-07:00

Faking aged, printed media has been massive since the ‘grunge’ style first became mainstream years ago. Textured work with a vintage feel is still very popular, but more recently it’s the ‘new retro’ style that’s captured the imagination. The general idea is to create a vision of the future… from the past. This effect is good for all sorts of projects, flyers, websites, posters. It works particularly well with music based projects. I’ll take you through the motions for type and, if you dig then I’ll show you how to incorporate images next time.

Here’s what we’ll be creating. Click on the image for a full preview.

Step 1

Create a new canvas in Photoshop, we’ll be working on a 250 x 180 mm sized canvas in RGB mode at 300 dpi. This is important because the values for filters that work on pixel sizes will need to be amended if you’re working on a different sized canvas.

Step 2

In Photoshop select the Gradient Tool (circled) and click the Gradient Editor (circled) on the Options Bar (Window > Options) to edit the gradient. Change the two colour values as in the screen grab, you’ll need to click the little colour tab and the rectangle marked ‘Color’. Enter the two values in the field marked ‘#’ in the Color window that pops up. Change to a Radial gradient in the Options bar and draw from the center outwards.

Step 3

Select the Horizontal Type Tool and a font you want to use. I’ve gone with a classic, if not overused, sans serif font called Avant Garde. I then did a version using Century (a serif font), which worked a lot better.

Type in SHINY and then go to Layer > Layer Style > Gradient Overlay and set up as in the Photoshop screen grab.

Then add a Stroke and an Inner Shadow layer style to the text using the screen grabs as guides.

It’s also worth mentioning that I had to reduce the Kerning in the ‘N’ and the ‘Y’ to even out the spacing.

Step 4

Create a new layer beneath SHINY, then select both SHINY and the new layer and go to Layer > Merge Layers. This will cause Photoshop to rasterize both the text and the Layer Styles so that we can build more Layer Styles on top. There’s possibly a better way to do this though simply rasterizing the text layer will not do this, not in CS2 anyway.

Then add a Gradient Overlay Layer Style as shown in the screen grab.

Repeat the layer merging process and add another Gradient Overlay (with the black and 50% black). Once again, repeat the merge process so there are no editable Layer Styles left on your text.

Your text should look something like the screen grab.

Step 5

Duplicate SHINY (Layer > Duplicate Layer) and apply an 8 pixel Gaussian Blur filter (Filter > Blur > Gaussian Blur) to the copy. Make sure the original is above it in the Layers palette.

Step 6

Duplicate SHINY (the un-blurred layer) and go to Filter Blur > Radial Blur. Set it to Zoom, Best quality and apply at 100%. Set start point to be centered at the bottom in relation to your text.

Step 7

The zoom isn’t quite the right size for our needs. Go to Edit > Free Transform to bring up the Free Transform bounding box. Hold shift whilst manipulating the corner points to constrain the aspect ratio.

Then add a Smart Sharpen (Filter > Sharpen > Smart Sharpen). Add a Layer Mask (Layer > Layer Mask > Reveal All) and erase the parts you don’t need using the Eraser Tool as set up in the screen grab. Rename this layer ZOOM_BLUR.

Step 8

Duplicate ZOOM_BLUR and set the copy’s Layer Blend Mode to Multiply.

Step 9

CTRL+Click on ZOOM_BLUR’s Layer thumbnail (not the Mask thumbnail), this will create a selection from it. Then go to Select > Inverse Selection.

Create a new layer beneath ZOOM_BLUR and call it FILL_LIGHT and fill it with White.

Apply the same Gradient Layer Style (don’t do the Inner Shadow or Stroke) as you did for the text in Step 3.

Create a Layer Mask and use the Eraser Tool to delete any unwanted areas. I find you get better results by reducing the Opacity of The Eraser Brush to around 30% and repeatedly chipping away at the mask so it blends. Use the screen grab as a guide.

Finally, reduce the Layer’s Opacity to 50% and move it below SHINY in the Layers Palette.

Step 10

Select the Line Tool. Set it to Shape Layers on the Options Bar, with an 8 pixel Weight. Draw in a white Line. Use Rectangular Marquee Tool to mark off a rectangle spanning the length of the line you just made.

Select the Paintbrush Tool and set up a big soft-edged brush. Take the Flow down to 21 and start to draw in some glow, making more passes over the edge that connects with the line. Use the Screen Grab as a guide.

Select this layer and the line layer and merge them. Rename this layer TWINKLE and apply a Gaussian Blur (Filter > Blur > Gaussian Blur) as in the screen grab.

Step 11

Use the Eraser Tool (set up as in the screen grab) to delete the hard edges.

Duplicate TWINKLE and move it parallel. Duplicate it again and use the Free Transform Tool to rotate (90 degrees), resize and reposition.

Step 12

Create a new layer and fill it with black. Go to Filter > Render > Lens Flare and set up as in the grab.

Try and center the flare so all the elements line up on top of each other.

Adjust the Levels (Image > Adjustments > Levels) to knock out unwanted glow and increase the center. Then go to Image > Adjustments > Desaturate.

Select your four associated layers (TWINKLE and its two duplicates and the lens flare) and group them, call the group STAR.

Step 13

Use the Free Transform Tool to rotate, resize and reposition the star. Make duplicates of the STAR group and rotate, resize and reposition. As each element of the STAR group is on its own layer you can tweak each part of the star until you’re happy.

Create a new layer beneath all your STAR groups and call it GLOW. Select the Brush Tool and set up as in the screen grab, then draw some extra glow behind each star picking a brush size to match.

Step 14

Group all your image layers (except the background) together and call it SHINY. Duplicate this group and go to Edit > Transform > Flip Vertical. Create a Layer Mask for the group (Select the Group and go to Layer > Layer Mask > Reveal All) and use the Gradient Tool, set to Linear with white and black colours to mask off the bottom, creating a reflect effect. Reduce the Layer Opacity to around 50%.

Step 15

Now go grab your favourite old paper textures. These ones from bittbox are pretty good. I used paper2.jpg, pasted it into the document and moved it to the top of the layer palette. Change the Layer Blend Mode to Multiply.

It looks too dark currently so go to Layer > New Adjustment Layer > Levels, check the box marked ‘Use Previous Layer To Make Clipping Mask’ and set up as in the screen grab. To increase the texture, duplicate the paper layer, desaturate and set it’s layer Blend Mode to Hard Light. Drop the layers Opacity down to 58%.

Step 16

Select ALL of your layers and merge them together. Put this new layer at the top of the layers palette (we’ll keep the originals just in case). Duplicate this layer and desaturate it.

Then go to Image > Adjustments > Invert. Apply a 40 pixel Gaussian Blur, turn the layer Blend mode to Overlay. Add a Levels Adjustment Layer (Layer > New Adjustment Layer >Levels) as in the screen grab.

Step 17

Go to Mode > Grayscale. Select Flatten in the pop-up window. Then go to Mode > Bitmap and follow the screen grabs to deal with the Bitmap and Halftone Screen pop-up windows.

Once it has been applied, select the entire canvas and load it onto the clipboard (CTRL+C). Go to your History palette (Window > History) and click back to just before you changed to Grayscale Mode. Then paste the copied bitmap layer and move it to the top of the Layers palette.

Select the Magic Wand Tool and un-check the Contiguous box on the Options bar. Use the wand to select any patch of white on the bitmap layer, then delete all the white.

Step 18

Change the bitmap layers blending mode to Soft Light and it’s opacity to 80%. Then tweak the opacities of your other three final layers as shown in the screen grab. These should be your merged art layer, the copy which was desaturated, inverted & blurred and the Levels Adjustment layer. The copied art layer should also be set to Overlay.

Conclusion

That’s mostly it… But if you want to get proper old then head over to Deviantart.com or brusheezy.com and get yourself some dirty/grunge brushes and paint in a final layer of scuffs and dirt. Don’t use white but a creamy off-white such as #ddc8b3 as your foreground colour. This will add to the aged feel. It’s worth creating a new layer to draw on and experiment with your brushes.

WDL Premium members can download the source Photoshop file below.

How to Create a 3D Text Photo Manipulation

2009-10-17T17:34:00.001-07:00

How to Create a 3D Text Photo Manipulation

Let’s Make a Playful Yet Robust 3D Letter Design

Awesome Milk Typography Effect in Photoshop

Create a Dream Design with 3D Typography

How to Create High Quality Metal 3D Text in Photoshop

Create a 3D Flowery Text Effect

How to Create Stunning and Bold 3D Text

Text effects

Create a Spectacular Flaming Meteor Effect on Text

Create 3-D text with some extreme lighting

How to Quickly Create a Stylish Retro Text Effect

How to Create an Ice-cold Poster with 3D Text

Design Soft Stylized 3D Type

Create a 3D Text Scene Using Photoshop

3D Text On Fire

3D text effect – 2009

Design a Slick 3D Ice Text Effect

Create a Spectacular Style Text Effect

Hell of Tutorial in Photoshop

Create a Spectacular Grass Text Effect in Photoshop

Glowing and sparkling intense light 3d logo

Here's some other articles that you will definitely find useful.

Create a New Retro Text Effect in Photoshop

11 Well Written Character Illustration Tutorials

33 Creative and Beautiful Logos

30 Clever and Cool T-Shirt Designs You Will Love

Awesome digital bokeh effect in Photoshop

2009-10-17T17:29:00.000-07:00

Awesome digital bokeh effect in Photoshop

September 24, 2008

abduzeedo's blog

Our last Wallpaper of the Week was an image I had created using Pixelmator, and I really liked the outcome. The best part about it was that it was pretty easy to accomplish in Pixelmator, but I decided for perspective's sake to create the same effect in Photoshop. The process is easy as well, but with a few extra steps.

As in the previous tutorial, I will show you how to create a digital bokeh effect, but this time in Photoshop. The process is very easy and we will be using the super powerful Brush Engine, one of the coolest things in Photoshop.

Step 1

Create a new document in Photoshop. As usual I will use a nice scree resolution, 1920x1200 pixels. Fill the background layer with a very dark grey, not black. If you fill it with black the effect won't work. The color I used was #262626.

Step 2

Select the Ellipse Tool (U), and create a circle. Use black for the color, and go to Layer>Layer Style>Blending Options. Change the Fill Opacity to 50%. After that select Stroke. Use 10 pixels for the size, Inside for the Position and Black for the color.

Step 3

Select the ellipse and go to Edit>Define Brush. Name your brush and that's done. Now we have a new brush ;)

Step 4

Go to Window>Brushes (F5). The first thing to do in the Brush Engine is to select our new Brush. The size won't matter because you will change that when you use it. The Spacing, however, is very important. Chage the value to 100%. After that, select the Shape Dynamics, then Scattering and Other dynamics. For the values use the image below.

Step 5

Before we start painting our bokehs let's create a new layer and fill it with a colorful gradient. I created a new layer and used the layer styles to do that but feel free to do the way you are used to. My gradient settings are as follows: Blend Mode is Overlay, Opacity is 100%, Style is Linear, and the Angle is 45º. The colors I used are: Yellow (#00085), Cyan (#1bdaeb), Purple (#9b3b81), Orange (#d27e34).

Step 6

Let's create a new Folder in our Layer Palette. Rename the folder to Bokehs and change the Blend Mode to Color Dodge. Then create a new layer, choose white for the color and select the Brush Tool (B). Now just paint some ellipses with our custom brush. For this first layer use a big size, like 500-600px.

Step 7

Go to Filter>Blur>Gaussian Blur. For this first layer use 20 pixels for the Radius.

Step 8

Create another layer and paint more brushes. This time however use a smaller size for the brush. After that go to Filter>Blur>Gaussian Blur. Use 4 pixels for the Radius.

Step 9

Create another layer and repeat the previous step, this time however use a much smaller brush. Apply the Gaussian Blur to this layer as well, but use only 1 pixel for the Radius.

Conclusion

Now just add your logo and that's it. We have a nice wallpaper. The idea of this tutorial was once again to show the power of the Brush Engine. You can try different shapes for this same effect, like hexagons for example. Also you can play a bit with the blurs to add more depth to the final design. Now it's up to you.

Click on the image for a full preview

Video Tutorial

Below there is a quick video version illustrating the whole tutorial.

Digital Bokeh in Photoshop from fabio sasso on Vimeo.

efecto pelicula

2009-10-17T07:58:00.001-07:00

Universdiad Justo Sierra

Formatos de Video

2009-09-01T10:34:00.000-07:00

Mov

Un formato de archivo informático ( o formato de fichero informático) es una manera particular de codificar información para almacenarla en un archivo informático.

Dado que una unidad de disco, o de hecho cualquier memoria sólo puede almacenar bits, la computadora debe tener alguna manera de convertir la información a ceros y unos y viceversa. Hay diferentes tipos de formatos para diferentes tipos de información. Sin embargo, dentro de cada tipo de formato, por ejemplo documentos de un procesador de texto, habrá normalmente varios formatos diferentes, a veces en competencia.

AVI y AVI 2.0

El formato AVI (Audio Video Interleave) tiene un funcionamiento muy simple, pues almacena la información por capas, guardando una capa de video seguida por una de audio. Sus codecs están desarrollados como controladores para ACM (Audio Compression Manager) y VCM (Video Compression Manager), y también pueden ser usados por algunas otras arquitecturas, incluidas DirectShow y Windows Media.

Así pues, ciñéndonos a la realidad, sólo existen dos tipos generales de AVI, Los basados en Video for Windows (los primeros en aparecer) y los basados en DirectShow (originalmente ActiveMovie). Y como hemos dicho, un AVI no es más que un formato de archivo que puede guardar datos en su interior codificados de diversas formas y con la ayuda de diversos codecs que aplican diversos factores de compresión, aunque para liar la cosa aún más si cabe, también existe la posibilidad de almacenar los ficheros en un formato AVI "raw" o crudo, es decir, sin compresión y muchos fabricantes aportan su granito de arena con codecs que añaden más confusión a nuestra babel particular.

Mpg/MPEG

MPEG

El formato MPEG (Moving Picture Experts Group) es un standard para compresión de video y de audio. Al ser creado se establecieron 4 tipos de MPEGs, MPEG-1, MPEG-2, MPEG-3 y MPEG-4. Cada uno de estos según su calidad. De aquí nace el popular formato MP3 para audio y también se habla de que el MPEG-4 que es el de mayor compresión le da vida al DivX explicado a continuación.

MPEG ( Moving Picture Experts Group ) es un estándar de compresión de audio, video y datos establecido por la Unión Internacional de Telecomunicaciones. Originariamente había 4 tipos diferentes MPEG-1, 2 ,3 y 4 que se diferencian en la calidad y ancho de banda usado.

Ofrece tres ventajas : compatibilidad mundial, gran compresión y poca degradación de la imagen. El estándar no especifica cómo se debe hacer la compresión. Los diferentes fabricantes luchan para determinar el mejor algoritmo, manteniendo siempre la compatibilidad.

Un cadena MPEG se compone de tres capas: audio, video y una capa a nivel de sistema. Esta última incluye información sobre sincronización, tiempo, calidad , etc.

MPEG-1 : Establecido en 1991, se diseñó para introducir video en un CD-ROM. Por aquel entonces eran lentos, por lo que la velocidad de transferencia quedaba limitada a 1.5 Mbits y la resolución a 352x240. La calidad es similar al VHS. Se usa para videoconferencias, el CD-i, etc. Si es usado a mayor velocidad, es capaz de dar más calidad.

MPEG-2 : Establecido en 1994 para ofrecer mayor calidad con mayor ancho de banda ( típicamente de 3 a 10 Mbits ). En esa banda, proporciona 720x486 pixels de resolución, es decir, calidad TV. Ofrece compatibilidad con MPEG-1.

MPEG-3 : Fue una propuesta de estándar para la TV de alta resolución, pero como se ha demostrado que MPEG-2 con mayor ancho de banda cumple con este cometido, se ha abandonado.

MPEG-4 : Está en discusión. Se trata de un formato de muy bajo ancho de banda y resolución de 176x144, pensado para videoconferencias sobre internet, etc. Realmente está evolucionando mucho y hay fantásticos codificadores soft que dan una calidad semejante al MPEG-2 pero con mucho menor ancho de banda. Es la última moda.

JPEG : Joint Photographic Experts Group . Como su nombre indica es un sistema de compresión de fotografías. Muchos de los sistemas de compresión de vídeo, tal como el M-JPEG ( motion JPEG ) Cinepak e Indeo, se basan en él. Consideran el vídeo como una sucesión de fotografias. MPEG introduce la noción de movimiento de una manera mucho más compleja y agresiva el el M-JPEG.

El codec de video H.264

H.264/AVC es un codec (codificador/descodificador) de vídeo extremadamente escalable, que proporciona una excelente calidad en todo el espectro de ancho de banda: desde TV de alta definición (HD), hasta vídeoconferencia y multimedia móvil 3G. Tal como se mostró en abril en un avance realizado en la feria NAB (National Association of Broadcasters), el vídeo codificado a plena resolución de alta definición (1920x1080 24p) se reproducía a entre 6,8 y 8 Mbps en un Power Mac G5 de doble procesador, ofreciendo plena calidad HD duplicando el índice de transferencia de datos del MPEG-2.

Como plataforma preferida por los creadores de contenido de todo el mundo, QuickTime está en la base de la experiencia multimedia que ofrecen miles de títulos de software, CDs musicales con contenido multimedia, y cientos de modelos de cámaras digitales. En los menos de dos años transcurridos desde su lanzamiento, se han descargado ya más de 250 millones de copias del software QuickTime 6. Según el informe "2004 Global Media Streaming Platform" de Frost & Sullivan, entre 2002 y 2003 las cuotas de mercado mundial de Microsoft y Real Networks fueron entre estables y decrecientes, mientras que la cuota de mercado de QuickTime creció hasta el 36,8 por ciento, colocándose en segunda posición muy cerca de Microsoft. Real Networks se situa en tercer lugar con menos del 25% de cuota del mercado mundial de streaming. QuickTime 6.5, que incluye también soporte optimizado para redes móviles 3GPP (3rd Generation Partnership Project) y 3GPP2, está disponible como descarga gratuita para usuarios de ordenadores Mac y Windows en http://www.apple.com/es/quicktime/

Cinepack

Un CODEC es un software que se usa primordialmente para comprimir video de forma tal que pueda ser adecuado para un uso específico. El CODEC usado por default u omisión es el CINEPAK, ya que está siempre presente en toda versión de sistemas operativos Windows© y Macintosh©. Por supuesto también existen otros CODECs disponibles en el mercado, algunos antiguos, muchos modernos pero recuerde que si usa uno diferente a CINEPAK es estrictamente necesario instalarlo previamente en la máquina para poder visualizar el video digitalizado; es así que tenemos:

INTEL INDEO 5.05: Muy usado para distribuir video por Internet en computadoras provistas con procesadores MMX. Este codec emplea un sistema progresivo de descarga que se adapta al ancho de banda y flujos de señal.
MICROSOFT RLE: Usado para comprimir cuadros que contengan áreas de color plano, como los dibujos animados. Este codec usa un codificador espectral de 8 bits que degrada la imagen al comprimirla hasta el 2% del original.
INTEL VIDEO R3.2: Adecuado para la compresión de video de 24bits y su posterior visualización en discos compactos. Este codec trabaja con muy altos grados de compresión, buena imagen y sistema de visualizado rápido. El producto final obtenido (película digitalizada) es altamente comparable con el trabajo realizado por CINEPAK.
CINEPAK by RADIUS©: Muy usado para la compresión de video de 24bits (color real), creado para visualizar posteriormente el video en CD-ROM o para descargarlo de Internet. Este codec trabaja con ratios altos de compresión y permite diversos tamaños de ventana al momento de visualizarlo; está siempre presente en toda versión de Microsoft Windows.

Sorenson Video

Es la primera suite de compresión de vídeo que integra el soporte para vídeo de alta definición, así como Flash MX para pasar vídeos AVI, MOV y DV a SWF, MPEG1, 2 y 4, QuickTime, RealMedia y Windows Media. Hablamos de Sorenson Squeeze 5.0.3

Una de las mayores ventajas de Sorenson Squeeze (además de ser un potente y competitivo compresor de video), es que posee una interfaz sumamente intuitiva que facilita el acceso a todos los parámetros de compresión, junto a múltiples filtros de audio y vídeo, reducción de ruidos, suavizado, efecto de fundido, Inverses Telecine, etc… Todo editable dentro de la interfaz del propio programa.

Esta suite está formada por un kit para convertir vídeo a Flash (desarrollado junto a Macromedia), reduciendo drásticamente el tamaño de los vídeos sin perdida de la calidad de imagen. Además de Squeeze para MPEG-4, con lo que podrás ensayarte con el nuevo estándar de la compresión de vídeo, ofrece un modulo de compresión para QuickTime muy eficaz.

Codec

La palabra codec se traduce de las palabras codificador y decodificador. Un codec no es ni más ni menos que una serie de funciones algoritmicas necesarias para comprimir un archivo, a este proceso de compresión se le denomina "codificación" y descomprimir o decodificar los datos de audio y vídeo.

Esto quiere decir que si queremos reproducir un vídeo digital y no tenemos instalado el códec con el que se han codificado los datos no podremos visualizarlo correctamente en nuestro PC, deberemos buscar los codecs y tenerlos instalados.

No ocurre lo mismo si reproducimos un vídeo a través de un reproductor DVD doméstico, dependerá de los formatos que reconozca el DVD para poder reproducirlos con sus respectivos codecs.

Algoritmos de los códecs

Los codecs utilizan diferentes algoritmos, algunos són muy rápidos a la hora de codificar, en cambio otros son muy lentos.

Algunos de los algoritmos más conocidos de los codecs:

Microsoft, Indeo, Cinepack, M-JPEG, DivX, Xvid. Cada unos de ellos se diferencia por su forma de codificación.

Mp3

mp3 es el nombre de la extensión de archivo y también el nombre del tipo de archivo para MPEG, capa audio 3.

La capa 3 es uno de los tres tipos de codificación (capa 1, capa 2 y capa 3) para la compresión de señales audio. La capa 3 utiliza la codificación audio perceptiva y la compresión psicoacustica para quitar toda la información supérflua (más específicamente, las partes redundantes e irrelevantes de una señal de sonidos, lo que el oído humano no oye de todos modos).

También agrega un MDCT (Modified Discrete Cosine Transform) un filtrado que aumenta la resolución de la frecuencia 18 veces más que el de la capa 2.

Acc

ACC:
(Advanced Audio Coding (AAC)) Es un formato de audio digital comprimido con pérdida. Fue diseñado con el fin de reemplazar al MP3. Para un mismo número de impulsos por segundo (bitrate) y un mismo tamaño de archivo MP3, el formato AAC es más estable y tiene más calidad, produciendo un sonido más cristalino.

Qualcom Pure voice

es la arquitectura multimedia estándar desarrollada por Apple™ que consiste en un conjunto de bibliotecas y un reproductor multimedia (QuickTime player). Su versión 7 es compatible con el estándar MPEG-4. Existe una versión Pro que añade diversas funcionalidades como la edición de vídeo y codificación a variados formatos como AVI, MOV, MP4. Con la versión Pro, también es posible grabar audio con un micrófono conectado al ordenador. En los Mac, aparte de grabar audio, es posible grabar vídeo (esto puede ser posible con cámaras como la iSight)

HD

El HD video o vídeo de alta definición es un sistema de vídeo con una mayor resolución que la definición estándar, alcanzando resoluciones de 1280×720 y 1920×1080.

VCD

Video CD, Compact Disc Digital Video o VCD es un formato estándar para almacenamiento de vídeo en un disco compacto. Se pueden reproducir Video CD en reproductores adecuados, ordenadores personales y muchos reproductores de DVD.

El estándar VCD fue creado en 1993 por un consorcio de empresas electrónicas de Japón, y es conocido como el estándar del Libro Blanco.

DVD

El DVD o Disco Versátil Digital, del inglés Digital Versatile Disc (mal llamado Disco Video Digital o «Digital Video Disc», ya que no es de uso exclusivo para video) es un formato y soporte de almacenamiento óptico que puede ser usado para guardar datos, incluyendo películas con alta calidad de audio y video. Se asemeja a los discos compactos en cuanto a sus dimensiones físicas (diámetro de 12 cm, u 8 cm en los mini-CD), pero están codificados en un formato distinto y a una densidad mucho mayor. A diferencia de los CD, todos los DVD deben guardar los datos utilizando un sistema de archivos Universal Disk Format o Formato Universal de Disco), el cual es una extensión del estándar ISO 9660, usado para CD de datos. denominado UDF (

El DVD Forum (un consorcio formado por todas las organizaciones que han participado en la elaboración del formato) se encarga de mantener al día sus especificaciones técnicas. Además existe otro grupo de empresas denominada Alianza DVD que crearon los estándares DVD+R y DVD+RW para evitar pagar la licencia al DVD Forum, por lo que no forman parte de los estándares oficiales DVD y no muestran el logotipo DVD

CD

El disco compacto (conocido popularmente como CD, por las siglas en inglés de Compact Disc) es un soporte digital óptico utilizado para almacenar cualquier tipo de información (audio, fotos, video, documentos y otros datos). En español o castellano, se puede escribir «cedé», aunque en gran parte de Latinoamérica se pronuncia «sidí» (en inglés). La Real Academia Española (RAE) también acepta «cederrón» [1] (CD-ROM). Hoy en día, sigue siendo el medio físico preferido para la distribución de audio.

Los CD estándar tienen un diámetro de 12 centímetros y pueden almacenar hasta 80 minutos de audio (ó 700 MB de datos). Los MiniCD tienen 8 cm. y son usados para la distribución de sencillos y de controladores guardando hasta 24 minutos de audio o 214 MB de datos.

Esta tecnología fue más tarde expandida y adaptada para el almacenamiento de datos (CD-ROM), de video (VCD y SVCD), la grabación doméstica (CD-R y CD-RW) y el almacenamiento de datos mixtos (CD-i, Photo CD y CD EXTRA.

El disco compacto sigue gozando de popularidad en el mundo actual. Para el año 2007, se han vendido 200 millones de CD en el mundo.

NTSC

El sistema de televisión NTSC consiste en una ampliación del sistema monocromático (blanco y negro) norteamericano, su desarrollo lo inició CBS al final de la década de los 30, pero fue en los años 50 cuando fue aprobado por la FCC. Este sistema consiste en la transmisión de cerca de 30 imágenes por segundo formadas por 486 (492) líneas horizontales visibles con hasta 648 píxeles cada una. Para aprovechar mejor el ancho de banda se usa video en modo entrelazado dividido en 60 campos por segundo, que son 30 cuadros con un total de 525 líneas horizontales y una banda útil de 4.25 MHz que se traduce en una resolución de unas 270 líneas verticales. Para garantizar la compatibilidad con el sistema en blanco y negro, el sistema NTSC de color mantiene la señal monocromática blanco y negro como componente de luminancia de la imagen en color. Se modificaron ligeramente las frecuencias de exploración a 29.97 cuadros por segundo y 15.734 Hz de frecuencia horizontal. Mientras que la señal de color se ha agregado con una frecuencia que es múltiplo de la horizontal sobre una subportadora suprimida de 3.579545 MHz modulada por amplitud y por cuadratura de fase; la demodulación de los componentes de crominancia requiere necesariamente de sincronía, por lo que se envía al inicio de cada línea (pórtico anterior) una señal sinusoidal de referencia de fase conocida como "salva de color", "burst" o "colorburst"; esta señal tiene una fase de 180º y es utilizada por el demodulador de la crominancia para realizar correctamente la demodulación. A veces, el nivel del "burst" es utilizado como referencia para corregir variaciones de amplitud de la crominancia de la misma manera que el nivel de sincronismo se utiliza para la corrección de la ganancia de toda la señal de vídeo.

PAL

En PAL, también conocido por 576i, se utiliza un sistema de exploración de 625 líneas totales y 576 líneas activas, pues 49 líneas se utilizan para el borrado. En NTSC, también conocido por 480i, se utiliza un sistema de exploración de 525 líneas totales y 480 líneas activas (las que se restituyen en pantalla), pues 45 líneas, que no son visibles, se utilizan para el borrado. Debido a que el cerebro puede resolver menos información de la que existe realmente, podemos hablar de la "relación de utilización" o "factor de Kell", que se define como la razón entre la resolución subjetiva y la resolución objetiva. El factor de Kell para sistemas entrelazados como PAL y NTSC vale 0,7 (para sistemas progresivos vale 0,9). Entonces, tanto en PAL como NTSC tenemos que:

Resolución subjetiva / Resolución objetiva = 0,7

La resolución objetiva de PAL es 576 líneas, mientras que la de NTSC es de 480 líneas. De esta manera, en PAL tenemos una resolución subjetiva de 403,2 líneas; mientras que en NTSC se perciben 336 líneas. Por tanto, PAL ofrece una resolución subjetiva y objetiva de un 20% superior a NTSC.

SECAM

Secam son las siglas de Séquentiel Couleur à Mémoire, en francés, "Color secuencial con memoria". Es un sistema para la codificación de televisión en color analógica utilizado por primera vez en Francia.
El sistema Secam fue inventado por un equipo liderado por Henri de France trabajando para la firma Thomson.
Es históricamente la primera norma de televisión en color europea.

AMPS:
(Advanced Mobile Phone System) Sistema telefónico móvil avanzado de telefonía móvil de primera generación (1G) que evita interferencias entre llamadas gracias a su capacidad de dividir el espacio físico entre dos móviles por las llamadas celdas, que separan las frecuencias. Actualmente está siendo reemplazado por sistemas GSM y D-AMPS. Fue usado en EEUU, America Latina, Nueva Zelanda, Australia y en zonas de Rusia y Asia-Pacífico.

Foto nocturna

2009-07-11T10:58:00.000-07:00

Efecto dragan

2009-07-07T14:13:00.001-07:00

Comentario Exposicion Ruben Ochoa

2009-06-27T06:40:00.000-07:00

Comentario: Creo entonces que es una exposición muy buena eh interesante ya que habla de los pecados capitales a mi criterio es muy peculiar que alguien imprima sus fotos en piedra es lo que mas me llamo la atención y porsupuesto la tematica que manejo, una de las fotos que mas me gusto es la de la mujer con los gallos ya que esto para mi represento una superfecialidad en la sociedad actual ya que todas las personas en general les gusta andar en la moda y ser diferente a los demas.

Doble capa Gris Modo RGB

2009-06-23T09:47:00.001-07:00

Marcha Lesbico Gay

2009-06-22T18:55:00.000-07:00

Foto Polaroid con distorción

2009-06-16T09:16:00.000-07:00

Efecto Vintage

2009-06-09T09:15:00.000-07:00

Comentario Bienal de Foto

2009-06-08T07:50:00.000-07:00

Es una de las exposiciones que mas me ha gustado mucho ya que tiene variedad de foto y algunas sin sentido bueno para mi no tiene sentido pero hay algunas buenas como la de los mexicanos que es el mexicano ideal o el prototipo y otra de las cosas que también me gusto mucho es acerca de los albinos ya que son personas un poco raras por que no les puede dar la luz y otras fotos muy buenas son las de los dobleses de papeles ya te hace pensar , ¿Cualquier cosa es arte? , pero en general es muy buena exposición . y lo que mas me gusto por cierto fue lo de las televiciones en japón que están transmitiendo en vivo.

Bodegón o Naturaleza muerta

2009-06-02T09:35:00.000-07:00

foto de doble capa con color y desaturado

2009-06-02T09:28:00.001-07:00

Practica de fotografia de viaje en la ciudad de Gto Gto

2009-06-01T14:25:00.001-07:00

Villa de San Sebastian Bernal

2009-05-12T08:54:00.000-07:00

Invasion 68 praga, Koudelka

2009-05-12T08:03:00.000-07:00

Comentario:

Este tipos de fotos que toma josef koudelka son muy interesantes en muchos ambitos ya que crea controversia en las personas, son imagenes muy impactantes de una guerra pero en lo particular me gusta mucho como interpreta josef la guerra de esa manera con fotos y pues que esas fotos dice más que mil palabras

Comentario Tunick

2009-05-12T07:52:00.000-07:00

Es bueno comentar que este señor que organiza este tipo de eventos es muy interesate por que seria bueno saber la razon por la cual tunick hace este tipo de cosas masivas pero algo muy peculiar es la interpretacion que se le puede dar ha un desnudo desde artistico hasta morbo y a mi critero es algo original y muy interesante ya que no es tipico que alguien haga esto y seria bueno investigar sus historia

Crucificcion Cristo

2009-04-14T13:55:00.000-07:00

Foto Periodismo

2009-03-28T17:00:00.000-07:00

Foto Periosdismo : Evento cultural Noche de Primavera

Foto Arquitectura.

2009-03-28T15:45:00.000-07:00

En algunas fotos realizamos foto espejo ( FotoPanoramica )

FotosArquitectura Normales

Foto Restauración

2009-03-24T17:16:00.000-07:00

FOTO: ANTIGUA

FOTO: RESTAURADA FOTO: ANTIGUA

FOTO RESTAURADA

2009-03-14T17:04:00.000-07:00

DAVID LACHAPELLE

Bueno en lo particular me gustarìa hacer un comentario a esta foto, ya que es una
de las cosas mas representativas de nuestros vecinos los estadounidenses como
podemos observar en la foto es una hamburguesa comiendose a un personaje
esto el cual tiene mucho sentido ya què la hamburguesa es un icono de u.s.a;
Es lo que mas se come en ese pais y por lo tanto es una de las grandes
fuerzas y tiene mucho poder representativo en toda la poblacion por lo tanto
este icono se representa en la imagen como la Hamburguesa comiendose a la persona
esto representa para mi que la hamburguesa es mas poderosa que la misma
poblacion ya que esta comida es dominante ante esa sociedad.

Arturo Michel Pérez Salazar Alfa-200

como hacer fondos de pantalla?

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Since my last article on how to create smoke generated lots of traffic, I decided to write another one on some of the photoshop effects. Although I use Photoshop on a daily basis, I am by no means a photoshop expert.

efecto increible photoshop CS4

Coldplay / Apple Style Portrait

Step 1 – Create the Document

Step 2 – Adding Light

Step 3 – Coloring the Light

Step 4 – Adding some Highlights

Step 5 – Insert Photo

Step 6 – Dodge and Burn

Step 7 – Adding the Smoke Effect

Screen Blending Mode

Step 8 – Adjusting Smoke Color

Step 9 – Enhancing the Background

Step 10 – Add Dark Lines

Time for Polish

Crear una imagen para fondo Windows Vista

Final Image Preview

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Final result

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increible efecto

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Flying Girl in Photoshop

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