5 Secret Tips for Generative Fill in Photoshop #nucly

hello my name is Rickard and in this tutorial I'm going to show you five things that you can do with the generative fill tool in Photoshop last week I did a tutorial on how to install the Photoshop beta and how to use the generative fill tool you can check that out here what I want to do in this tutorial is show you five things that you can do with the general fill tool that I haven't seen covered in a lot of other tutorials so first make sure you have Photoshop Beta And if you want to follow along using the same images that I used in this tutorial I have included a link in the description of this video where you can download all of them otherwise let's dive into Photoshop all right let's go to file open and in the assets there's a blend folder we're going to go ahead and select both images in there and hit open you're going to see we have an image of some mushrooms and an image of an ice cream and what I want to do is I want to create an image of a mushroom ice cream so what we're going to do is we're going to go first to our mushroom image and click on select subject down here in the taskbar if you don't see this taskbar you can go up to window and then go down here to contextual taskbar I've actually assigned a shortcut to mine and I would always recommend that you do that as well just makes it easier to turn it on and off if you don't want it around all right so let's go ahead and click on select subject and you'll notice that the taskbar moved as soon as it made this selection and that's because the taskbar is kind of designed to sit under whatever you're working on but personally I work on the whole canvas at once so I prefer to have it just stay down here so I'm going to move it back to where it was and then go to these three dots and click on pin bar position that'll keep it locked where it is all right so to our selection here you can see that it did an okay job here where there's a lot of contrast but around here it did not do a great job now before I go try to manually do this what I want to do is see if the cloud select subject is going to have better results so let's click on that and then go make a new select subject and you can see that that did a really good job compared to the computer select subject so let's work with this and what we're going to do here is go here and go to select and mask that'll bring us to the select and mask workspace I'm going to click on this view here and I want to just make this Edge not so ragged so we're just going to turn up the radius here and you can see that looks a bit better I'm also going to just shift this Edge Inside by about 10 percent just try to get rid of that green fringing around those edges and then we'll hit OK then I'm going to do command C select my ice cream document and do command V all right let's move this and I'm going to do command t for transform and just place this so that it looks like these mushrooms are growing out of our ice cream here something like that and the next thing I need to do is I need to adjust the color of my mushrooms so that they better match with my ice cream here so I'm going to do command M that'll bring up my curve and the first thing I need to do is just make it lighter you can see that these Shadows here are far darker than any of the Shadows in here so let's just bring up the bottom of our curve and then we can even it out here so it's not overblown foreign something like this and then I'm also going to go to my Reds and you can see that we have too much cyan in our shadows so that's going to be affected in the red area here so what I'm going to do is just with my pen here I'm going to try to add some red in the shadows and that should take out some of that cyan you can see there it's a little much but if we just turn this back on to this mode instead of the pencil we can kind of even that out a little bit like that and then I'm going to go to green and the opposite of green is magenta you can see we have too much Magenta in our highlights here so again I can go to the pencil to just try to Target this one specific area and then put this and that'll kind of give me the dots there and I can smooth it out a bit so something like that and then I'm also going to add a little bit of yellow thank you something like this and then maybe just a little bit more red in the highlights so something like that there's the before and after you can see that matches our ice cream far better let's hit okay all right the next step is we're going to select the mushrooms and the ice cream what we want to do is get these to kind of melt together so we're going to go here select this like that and then here we're just going to hit on generative fill and hit on generate now even though it gave us one generation here you can see that it aired and that's because we're using the beta and the beta does have a bug where it will falsely trigger it a violation of the guideline even when it's not a violation so we could just leave it with this but I do want to show you a solution if you run into that problem so let's just go ahead and delete this layer and if we just had the violation error and we're going to try to do this again what I would do here is just go into the prompt area and just explain what is on the screen so here I'm going to say ice cream with mushrooms so essentially I'm trying to give it as little of a prompt as possible so that it just uses the contextual information to fill in this part of the image but you can see that it's now trying to add mushrooms and that's not at all what I want so maybe here we can try just typing in ice cream and that did a much better job let's look here so I think that one actually looks quite good what I might do is leave this as my starting point and then I'm just going to select a few of these two dark areas where the shadow just is too dark for the scene thank you and then here I'm going to put in ice cream and I think these all look better than what we had before kind of like this one I like the fact that it's giving us a little bit of transparency into our background there so let's keep that and then maybe I'll just do one more try to get something a little nicer in this area here and I think this one looks good so let's leave that so now we have our ice cream with mushrooms growing out of it the last thing we can do here is just kind of re-crop so we'll do c for the crop tool make this a little bit bigger and then I'm going to go to my background layer select subject do command J to put that on its own layer and then here I'm going to add a solid color layer we'll just pick a color that kind of goes with this maybe something like this okay the next thing I want to do is just knock this out of the transparency so what I'm going to do here is I'm going to take all the layers that make up my ice cream put those in a folder with command G we can call this ice cream and I need to add transparency here so once this is all in a folder I can add a mask to that folder go in here and just make a selection of this and then with my mask selected I'm going to do command delete and that will fill it in with black and then I can add a little bit of feather there I think that looks good and then the last thing I might want to do is just add a vignette to this so I'm going to go to my elliptical Marquee tool make an elliptical Marquee and then I'm going to go here and go to Curves and here I'm just going to pull this down make my curve darker like this go to my mask properties invert my mask and then add about 300 pixels of feather like so and then I can always if I want make this vignette darker and I can also do command T because my original selection was that Circle I can now control the size of that Circle here okay and then the very last thing is we need to fill in this part of the arm I'm going to do that with the generative fill tool so I'm just going to go like this and then we'll type in arm foreign and I think that one looks good I don't want the extra part of the arm there so I'll go here and just get rid of that in The Mask so that uses the generative fill tool to help you blend two images the next thing I want to show you is how you can add contextual information and then use that to help the AI get better results all right so we're going to go to file open and in the folder called context I'm going to go ahead and select both images and hit open and if we go to the Sherman Yang image you're going to see this Drone footage of a long pier and what I want to do is I want to create an image where there's large koi fish inside the ocean here and obviously koi fish at this distance from the ocean would be completely impossible to see but I think that that juxtaposition of really large koi fish would look kind of cool so let's first take our lasso tool and we're just going to make some selections kind of about the size that I want the koi fish to be and here we're going to say koi fish in the water and then hit generate okay so not a bad job although the koi fish are a little bit fat but overall not a terrible job although it doesn't look very much like they're in the water so let's go ahead and turn that layer off for now and here's what I want to show you and this is a trick of Simply adding context to your image before doing your generative fill so here what I want to do is go to my select subject I'm going to go to the cloud click on select subject and that did a pretty good job now what I'm going to do is just intersect this selection so I just have these uh fish right here so we'll go here hold down option and shift that'll bring up the intersect and then we'll just select around these three fish here and then I'm going to do command C and command V and then we'll make these bigger and then I also want to push these into the water a bit so what I'm going to do is I'm going to double click here bring up my blending options and under the blend if down here what I want to do is hold down option and just kind of bring this to the right a bit until those fish start looking like they're a bit under that water there so something like that I'm gonna hit OK and then let's go ahead and make these selections again but what we'll do is we'll revise them and just kind of go around where we've added these with a few more shapes so we'll do this this and this and then here we'll say exactly the same command koi fish in water and then hit generate and you can see that those actually look more like they're in the water like these and if we scroll through and that one is quite close but as you can see giving the image some context helped the AI in determining what you want in the rest of the image now this is not doing a great job but this tool is in beta and it will get better and better and I have found that the more context you give the tool the better results you're going to get the next thing I want to show you is how you can use the generative fill tool in your workflow to create fake depth of field let's go back into Photoshop all right let's go back to file open and in our assets folder we're going to go to the folder called dof which is a reference to depth of field and what I want to do here is I want to show you how you can use the generative fill to change the depth of field of a photo you've already taken so here you can see this image is very the focus is very deep meaning even these mountains here even though they're starting to get a little bit blurry they're actually almost all in focus and also you can see our foreground almost right up to where we are is in Focus so this image is heavily in Focus now it's a great image but if we want to change this to be a more soft focus where our subject really sticks out from the background we may want to blur this image so in the past the way we would do this is selecting him and just to make sure we have the best results I'm going to go ahead and do the cloud detailed result again so we have him selected we're going to do command J and put him on his own layer now if I take this background layer and start to blur it and I'm just going to do a gaussian blur so you can see the problem that we're going to run into is we're gonna have this halo effect around him because he is behind there when you are blurring the image and the more you blur the more this Halo is going to become apparent and it's just it looks very obvious that this blurring was done in post so let's cancel here and let's show us uh I'm going to show you how to fix this with generative fill so first what we're going to do is get rid of him so I'm going to click on my lasso tool and select all around him and because I actually already have a selection of him I can just command click on him and then go here to a expand selection by 10 pixels and then hold down shift so I'm adding to my selection I just want to add the reflection as well otherwise the generative fill will factor in this reflection and try to add something that makes sense with this reflection I don't want that I want it to get rid of all this so I'm going to hit generative fill I'm going to leave this blank and hit generate okay but there you can see it did a really good job of cutting him out of the background and now we have our character here the other thing I do want to do however is I do want to have the reflection in my background so what I'm going to do here is take these two layers and combine them with command e so that I have just one layer and then I'm going to make a copy of this background layer put it above and then I want to just retain if I turn this off I want to just retain what's under him here so I'm going to go ahead and add a mask to this and then select just this area here like so let me make sure I have enough around it so that if I need to feather the selection I can so something like this and then we will invert here and then just fill this part of the mask with black so like this and actually there's not really a seam there so I think we're okay we can use this as our new background so this will be our background and then now that I have him nicely separated what I can do is go to filter blur gallery and do a tilt shift and what I want to do is I want to line up the in Focus point to write where his legs meet the ground here and then I'm going to pull this in real close pull this one in real close to about there and then we can pull this to about there and there and then now here we have full control of our depth of field we don't get that blurring effect this really looks like you're adjusting the f-stop inside your camera so you have this beautiful control of your depth of field and also with this tool you can actually even add some bokeh some like light bouquet if you want um it's an option I you know I probably wouldn't for this image but if you're doing a nighttime shot you can get some nice bouquet in there but that's the basic of the trick if you separate out the subject from the background use a generative fill and then you can use this blurring effect to make a very shallow depth of field to a photo that you took that doesn't particularly have that much depth of field so here you can see the before and the after that looks very realistic the next thing I want to show you is how you can use intensity or the strength of your initial selection and how you can use that to better blend your generative fill with your existing image okay let's go to file open and in our assets folder we're going to go to the folder called intensity and let's open the file in there so here what I want to do is I want to put a woman Frozen inside this ice so if I just select here kind of where she's going to be and hit generative fill and type in woman under women Frozen under the ice and hit generate you can see that it's basically created an entirely new image that has no relation to my existing ice background so how to fix this let's go ahead and throw away this and what you can do is you can actually adjust the intensity of your selection which is essentially the opacity of your section meaning how much you have selected if you're familiar with Photoshop you know that selections don't have to be a hundred percent you can select something by degrees so if I hit Q on the keyboard or click on this you get a channel here the quick mask Channel which shows you how much of something is selected so if it's a hundred percent selected you're going to see it as white here and as fully transparent here but if I for example added a mask so I'm doing a mask on the quick mask and start moving this down you can see that now this is 50 Gray on my mask which means my selection is 50 and anything under this starts to go under 50 when you hit okay this is now less than 50 selected so now if I hit Q again because there are no more pixels more than 50 selected it's not going to show me the running ants however there is a selection there and as you can see the generative fill does show up and that's because I do have a selection so I'm going to click here and then type in again woman Frozen under the ice and then hit generate you can see now that it's actually retained my original image or elements of my original image and it's trying to add it within the context of this now you can see it's really struggling to do that so what I want to do is I want to show you another way that you can do this especially with an image like this but it'll also get your imagination going in terms of how to use this intensity so let's go ahead and throw this away and generally if you're looking at this and there was a person under the ice you would see them in the darker areas here because these lighter areas are refracting light and are less transparent than these darker areas so if I go to my channels and let's look at our various ones and you can see that the red probably is the best representation of light and dark so if I do command and then click on the red I've now made a selection of all the light areas but I want to select the dark areas so I'm going to click on this that'll invert my selection and then I'm going to go here and type in the same prompt women Frozen under the ice let's hit generate and you can see here that it's actually done an interesting job to try to keep this intact and actually put her under the ice that we had so for example if we took this one this one looks pretty nice and then we could take our original layer make a copy of it put it above and then maybe change the blend if so that we start showing her underneath so maybe something like this foreign that using that intensity trick this is much more interacting with our image and allows us to create effects that are more realistic all right the next thing I want to show you is how you can create a seamless background or a seamless pattern using generative fill let's go back into Photoshop all right let's go to file open and the last folder in our assets is seamless let's go ahead and open the two images that are in there and we'll start with this image it's a little bit large so let's go to image size we're just going to make this a bit smaller so first let's change this to pixels and we're just going to cut this in half to a thousand and hit OK and what I want to do here is I want to be able to use this as a 360 environment so the only way to do that is I have to make sure that this is seamless because right now as it crosses from here to here obviously it's not going to work but with generative fill we can easily solve this problem so first let's go to filter and I'm going to go to other and then offset and here are document is 8 000 pixels wide so four thousand is half of that let's do four thousand that'll put our seam right here in the middle now I can just select the seam and probably just make sure I don't have like right in the middle of a house selected so probably somewhere like this and then make sure I have enough so that it can make a smooth transition between everything hit generative fill and then just hit generate and let's look at the options it gave us this one looks really good so I really like this one um on the surface this really looks like just one image now the great thing about this is I'm going to go ahead and merge these two and if we go back to our filter offset you can see that no matter where we moved this there's never going to be there's never going to be a seam in this image and I have a course called the Great Abyss and if you've done that course or if you're interested in creating that kind of composite using this trick will actually save you a good 10 or 15 minutes of compositing and blending time that I cover in that course so this is a really great site uh time saving trick for when you need to create a a seamless image like this whether it's for 3D or for that type of composite and the other thing that you can use this for is making patterns so here what I want to do is I want to create a pattern of brick that's seamless so the first thing is I need to make sure that it is straight because I do notice this is a little bit unstrate so I'm going to just do a command J to put this on a new layer and then I'm going to do a transform here make this a little bit bigger and then start rotating it try to get all these bricks so that they line up nicely you can see here we still have this side so I'm going to hold down command and maybe just skew this a little bit as well and I think that's pretty good so let's do that and then I also want to make this a square so let's go to Canvas size and let's make our width the same okay so we now have a square the next thing I want to do is go to my filter and go to our offset and let's offset this by 2000 and Okay so we want to crop this and we want to make sure we delete the crop pixels that way when we're moving it it moves all the way to The Edge and it's not taking into account these extra pixels so let's hit okay and then let's go back to our offset and do 2000 and it should land in the middle now there you go all right and then we're going to select this part here and then do our generator fill and then we will merge those with command e and then go to offset and this time we're going to leave this at zero and make the vertical two thousand and then we'll select this middle area here where the seam is type in generative Bill and generate okay and then we'll merge those and then we'll do one final check make sure that this offset did not get ruined and it looks like we have a little bit of a line right here to fix we'll just select that little portion there and then hit generative fill and we can merge that and then select and then do edit Define pattern called this brick and now if we go to our pattern and select our brick because we made sure that this was seamless if I put this to 50 you can see I can still use it it doesn't have any seams now obviously you can't go too far because you're going to start seeing repeating bricks but when you're making a pattern this is a great way of making sure that it's seamless extremely valuable if you're doing any type of 3D textures or material work as well so there you have it those are five tricks for using the generative fill tool in Photoshop hopefully you can see how you can incorporate this tool into your workflow and use it to help you speed up your efficiency and getting the results that you want in Photoshop now if you enjoyed this tutorial please subscribe to my channel I do come out with videos like this almost every week and also if you're interested in accelerating your learning in Photoshop and really get to the point where you can charge people make money and make a living in Photoshop check out nuclear.com I've got a whole bunch of Professional Training as well as tools and assets that you can use in Photoshop to bring your imagination to life get the results that you want so check that out otherwise here's some other tutorials that you can check out I'll see you next time

Channel: Nucly • Photoshop and Creative Design Training

Views: 21,590

Keywords: photoshop, photoshop tricks, nucly, generative fill, adobe photoshop, artificial intelligence, generative fill photoshop beta, generative ai, generative fill photoshop, generative fill ai, ai image generator, generative fill photoshop 2023, contextual task bar, photoshop tips, ai photography, adobe photoshop tutorial, generative fill a.i. in photoshop, generative fill in adobe photoshop

Id: 86s7AhpOIII

Length: 35min 22sec (2122 seconds)

Published: Mon Jun 05 2023