You usually don’t need to bleed into the inner margins of two facing pages (aka the gutter) of your InDesign layouts. In other words, most of the time, you don’t need your images or other decorative elements to extend beyond the edge of the side of the page that will be bound in the spine of a book or magazine. But there are a few occasions when you do want that—for example, if your book is spiral bound. But where’s the bleed area with facing pages?
This week in InDesign Secrets, David Blatner shows you a trick for splitting facing pages to create a bleed area in the gutter. The secret lies in the Pages panel: a little-known option called Allow Document Pages to Shuffle. David also shows you what to do when you have an image that spans across facing pages that you would like to split.
What are your biggest challenges at work? Two common workplace challenges are working with people you don’t like, and knowing when and how to stop putting effort into projects that aren’t working—so you can instead focus your attention where it truly matters.
The first tip this week is about working with someone you don’t enjoy; this can drain your energy quickly unless you make a conscious choice to approach the situation constructively. Your don’t have to become buddies with unpleasant coworkers, but you can learn to recognize their positive traits instead of letting their negative ones get the best of you.
Welcome back to Deke’s Techniques! Today’s episode takes you on a trip in the “not-so-way-back machine” as we revisit an Adobe Photoshop technique from January. Deke will show you how to upsample another teeny tiny image, but this time it’s a flat file—no layers at all—and he’ll show you how to perform the resampling in CS6 and earlier versions of Photoshop. This technique shows how you can get great results even from images without a lot of data.
Watch the free video below as Deke takes a 578×750 pixel, .5 MB file and transforms it into a 1,400 percent larger version of itself with Photoshop CS6. He also shows how to mimic the results you get from the Creative Cloud upsampling algorithm with an application of Unsharp Mask.
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Here on Monday Productivity Pointers, I love to talk about cloud apps. I love using apps that you can access from anywhere—your computer, laptop, phone, or tablet. This week, we’ll discuss an important topic around cloud apps: how to secure yourself when using them. In my first video, I’ll show you how to enable two-step authentication, a more secure way of logging in, also referred to as “two-factor authentication.”
More and more cloud apps are offering two-step authentication. When you enable it, step one is to log in to the app with your user name and password as usual. You’ll then receive a text message on your phone from the cloud app itself, containing a second password. Step two is to go back into the app and enter that second password for access.
Last week Rich and I explored a multi-camera workflow process in Adobe Premiere Pro CC. This week, we’ll take a look at the same workflow using Apple’s nonlinear editing software Final Cut Pro X. We’ll dive into the Final Cut Pro X workspace and show you various processing methods for multi-camera footage and the basics of multi-camera editing.
This week you’ll learn how to
• Post-process multi-camera footage in Final Cut Pro X
• Organize multi-camera shots in Final Cut Pro X
• Synchronize audio from multi-camera shots using click tracks
• Edit multi-camera footage in Final Cut Pro X
He begins in Adobe llustrator, creating a vector outline for the lamp. Once the basic outline has been completed, he pastes the resulting paths into Photoshop to add depth, relief, and texture to the lamp. After adding some layer effects to flesh out the base, he finishes by adding a texture to the shade, and a glowing light underneath it for a final touch of realism.
A couple of months ago on The Practicing Photographer, fashion and portrait photographer Troy Word joined Ben Long for a discussion of the joys of instant photography—specifically, using a Polaroid camera along with beautiful black-and-white film manufactured by Fuji.
Fuji’s film works in what are called “pack-film” Polaroids. After you shoot a photo with these cameras, you pull the exposed film out, wait a specified amount of time, and then peel the print away from its backing. It’s that process that earns this format its other name: peel-apart.
And it’s that peel that holds such appeal to Ben Long in this week’s The Practicing Photographer. When you separate a sheet of peel-apart film, you end up with your photo (obviously) and a negative.
A jump line is a line of text that appears at the bottom of an article, telling readers that the article is being cut off there, but will continue on another page; e.g., “Continued on page 288.” Another jump line often appears at the top of the column for the continuing article; e.g., “Continued from page 287.”
It’s easy enough to enter jump lines manually, but if you later add or delete pages from your layout, you have to remember to correct the page numbers in all of your jump lines. So if you know how to use page markers in Adobe InDesign, you can save yourself some work.