Mastering Adobe Photoshop's Generative Fill

1. Course Promo: Hello and welcome to this course. I'm using generative fill within Photoshop. Generative pill is Adobe's answer to image based AI. Now with this tool, you can expand the edges of a canvas. You can add elements to your image. You can remove elements from your image. You can change the style of an image. The possibilities are endless, and it is such an exciting new tool. Now this course is going to show you many different ways that you can use this tool to improve, change, and completely revitalize your images. There's 15 lessons within this course, comprising of two class projects where you will be able to use the skills you'll learn in a course to create your own images. So I'm super excited to go on this journey with you guys. I can't wait to see what you guys create to please upload everything from projects. Anyway, it's really exciting. So let's just jump into the first lesson. 2. Lesson 1 - How to access Generative Fill and the Lesson Resources: Hello, welcome to the course. I'm super glad you joined us and I'm really excited to see what you guys can do in this course. Now, in order to continue in the course, you're going to need access to certain things. The first thing you're going to need is access to all the images. Now, I provided a text document which will give you links to all the images which are going to be free. There are some images which are my own and I've also uploaded those images. So every single image that I use in this course, you will have access to either via a link, which I'll give you, or via a direct download of the image. Also, you're going to need access to Photoshop. Now, when I recorded this course originally, generative fill was only available in Photoshop beta. Now generative fill is available in Photoshop beta, but also Photoshop 25 and any future versions. Generative fill is free to use as long as you have an Adobe subscription. However, after November 1, they will be bringing in a credit system where you get 1,000 credits a month. 500 credits a month. It's dependent on your subscription. So make sure to check, and I'll upload a link as well in the resources section so that you can check how many credits you're entitled to. Other than that, there's nothing else you need. So let's jump into the next lesson where we'll look at using generative fill in Photoshop to expand the edge of the canvas of our image. 3. Lesson 2 - Expanding an image with Generative Fill : Okay, I'm welcome to the first lesson where we are actually, and finally, inside of Photoshop, 2023 beta. Again, depending on when you're watching this, you may be in an even later version, but I'm in 2023 beta. Now I have an image here and I have another image here. Two photographs of which are going to be available for you to download. What we're going to do in this lesson is we're going to look at what's called generative expand. So before we start actually typing in prompts, we're not even going to begin with that. This time what we're going to do is we're going to look to expand this canvas. So this is a photo that I took portrait mode. But let's say I want to turn this into landscape. Well, I can do that. If I click the crop tool, you'll notice at the top this is all changed. Now we've got our fill method by here and we can say background default, which will just fill it with white. When we drag this out, content aware fill, which is something else. It's not very good version of kind of using what's already there to fill here, but we want to keep it or make sure it's got generative expand. And all we need to do now is if we pull out like this, let's make it a little bit bigger. There we go. Now we can type a prompt in there if we want, but if we leave it blank, it's going to use the information it's already got. So if we just click the tick icon. Okay, you'll now see that we have three options. Next to our layers panel. We've got our properties panel. If you can't see it, just got a window and turn on properties in here, you'll be able to see there's generated us three different variations. And what we can do now is we can click through and we can pick whichever one we feel is best. Actually, I'll be honest, I like them all. I'm probably going to go ahead and stick with the first one. Yeah, I really like this. What we can do now is we can see here, this is on our layer. This is the additional that it's made, which is really, really cool. Okay, well let's have a look at another example. I've got this one by here, a drone shot. So what I want to do with this one is I actually want to zoom out some more, make this probably square. So I'm going to go and get my crop tool and I'm going to change this to one, to one square. So I can just go like this and maybe bring it up. And then it's going to extend it now up and down. So let's go ahead and click Tick and see what it gives us. Perfect. And I've now got this photo in three different versions again, and it's made it completely square. I think my favorite is going to be one of these two. I think I'm going to go with this one. And let's go back to layers. And again, we've got from this to this, which is really, really cool and it looks really well done and it looks real. So that is the generative expand. Get your image, go to the crop tool, make sure your film mode is on. Generative expand, expand out. Oh, I'll just turn it off square and back to width and height resolution. And let's pull it out here. And there we go. We've also got more now, so if we turn these two off, that's it. That's amazing. What you can also try and do is when you're doing your generative expand is you can try and type something in the box by here and see what you get. That's it for this video. In the next video, we're going to have a look at removing elements for generative fill. So I look forward to seeing you in the next video. 4. Lesson 3 - Removing objects with Generative Fill : And welcome back. Now in this video, what we're going to do is we're going to have a look at using generative fill to actually remove objects. So this is one of the images that you'll have a link to. And we've got a bike in this photo. I don't like the bike, so I'm not going to use the crop tool this time. I'm going to come up to the second tool by here. I'm going to hold my click down. And then I'm the one below. I'm going to hold my click down and go to the tool. And what I'm going to do is I'm going to hold Alt or Option key and scroll in. And I'm just going to make a selection and draw around this bike quite loosely, but you want to make sure that you do get all the bike in there, just something like this. And then what I'm going to do is I've got this little generative fill box. You've got a few options along the bottom, so you may want to hover over and kind of have a look at these. Now, I'm not too fast on going through these. You know, you can create a mask from that fill selection, all of this stuff invert it. But I'm actually going to go into the generative fill function and I'm going to type remove and click Generate. And just like that, that's not the best one, but if we come across, look at that, it's removed the bicycle, I didn't even have to tell it to remove the bicycle, it's just gone ahead and it's done that. I think this is my favorite version. So let's come to layers and here we go. It's remove the bicycle. That is honestly insane, If it didn't do quite a good enough job, what you can do is you can just click Generate again and it'll generate more variations. You may want to type in remove bicycle, or remove object to see if that gives it something better. It is all about playing around and seeing what gets you the best result. But honestly guys, that is insane. It's done that in literally seconds. So let's go ahead and try that again. We've got an image here and I want to remove, let's say, this little silver pouring jug by here. It's a bit more complicated because it's behind this. So we're going to want to be quite careful with our mask in this instance. So what I'm going to do is I'm going to use my lasso tool just to kind of roughly draw around. And I'm just going to come up here and I'm not going to cross over there, I'm going to come up and just go loosely around. Okay, we've got a selection, but we want to get this in there. So what I'm going to do this time is I've still got that selection selected. So I'm just going to hold my click down and go to polygonal, polygonal lasso tool. Now with that selected, if I hold shift, you'll see that a little plus button comes up. So hold and shift, I'm just going to click, and now I can let go of shift and I'm going to click in here. And basically this will just kind of let me use loads and loads of clicks just to get quite tight around this. There's many other ways you could have done this. We could have used the magic one tool, we could have done many different things. But if you're new to Photoshop, then I'm just showing you just various different ways. So now I'll come back and join up and we've got that selection. So again, I'm going to go ahead come to generative fill, and I'm just going to try typing in remove and generate. Okay, so let's have a look at the results. For some reason we've got something by there, and this one, if I click through, we've got actually we've got another one of those little small cups which aren't actually mind. And here we've got, I think, replaced it with a little bit of a bowl of potatoes or bread. I'm actually going to go for this one. I don't mind that being there. So I'm going to go ahead and now here's the before and the after. If you didn't like having the extra cup there, what you can do is with this layer selected, go back to properties and just try generate again. So I've got ahead and done a few different generations and mine isn't moving, But let's have a look, a little trick. I've got something which is quite small here that it's replaced it with. So what I'm going to do is I'm gonna come into layers. I'm gonna hold shift and hit command or control E to merge these layers. I'm now just going to do the same again And I'm not going to use my polygonal lassu, I'm gonna go to my normal lassu. And if I just do a relatively tight mask around this, what I'm hoping is the removed function will now work. So let's try again. Go remove and generate. There we go. So now it's removed it. However, the other two options are still quite funny. So this is the thing with generative fill. It's really, really cool. But sometimes getting it to do exactly what you want it to do can be quite hard. So a few workarounds are often needed. And what I did last time is I merged the two layers because there was something in there smaller by selecting them and control command. And then I drew round again just to remove it. And this is our final image. So we have gone from having a silver jug there at the beginning to having it completely removed. So that's how you remove things with generative fill. Next lesson what I'm going to do is I'm going to set you a class project where you're going to have to re, utilize these skills. Look forward to seeing you in the next lesson which will be our first project. 5. Lesson 4 - Class Project 1 : Welcome to your first class project class, project number one. So what you're going to do for this is I'm going to give you an image. You'll see that image on screen right now. And using the skills that you've already learned in this course so far, your job is to see if you can remove the wires within this image because they're quite distracting. Go ahead, give it a go and let's see how you get on. And don't forget to post your results because I really want to see them. 6. Lesson 5 - Adding Hair to a Model with Generative Fill: Okay, so I hope you guys enjoyed the class project. I hope you found it useful And helpful. So what we're going to do in this lesson, we're going to have a look at adding hair to models or actors. I don't think that generative Phil is really, really, super good at this, but it is getting there. So it's really important that I do show you this. So what I'm going to do is I've got this photo here again. You've got the link. I'm going to get my lasso and I'm going to draw something like this. So I think his hair would be, remember to go a bit above as well and come around close to his ear and up like that. Now what I can do is click generative fill and go wavy hair style. And click Enter. Like I said, I don't think when I've tried this in the past that it's really, really good. But it's definitely definitely getting there. So by the time you watch this, it may well be super good. Okay, so here's the result. That's still probably better hairstyle than me. Let's go through. I'm like in this one, I think this one's quite fashionable. What we could try is we could try and enter down here or in there. But I'm going to go down here. Thick, hurly long hairstyle. And basically, I think, I'm hoping that that may give me a bit more hair. Okay, so some quite funny results here. Let's have a look though. I'm okay with that one. And this one, again, is okay. Yeah, But let's consider this guy, even though these hairstyles may not seem 100% there or they may to you, let's just have a look. The lighting, he's being lit from this side and this side of his face is in darkness. All of these hairstyles are certainly picking up on the lighting, arguably, this one a little less, but all of them certainly are looking at the lighting and blending really, really well. I think this one or this one is probably my favorite. So let's go and have another look at this. Let's see if we can do it when somebody's wearing a baseball cap. Well, let's do the same thing again. Let's go quite tight around here now. It's quite close to his eyebrows, so I wonder how it's going to deal with that. So let's go round and like that. I'm just going to add in hold in shift. I'm just going to add in a little bit more down by here. And there we go. So I'm going to go generative, Phil, and I'm going to say messy hairstyle. Okay. I think that's actually done it quite well there. I would say even better now. This one? No, this one no, as well. But I do think this one is pretty cool. Let's have a bit of a zoom out. I think that's holding up quite well what you could do in this instance. I'm just noticing that the black point of this is not, is much darker than the black point here. Arguably, it's as dark as his eyes. But what you could do with this is now go ahead and put in a curves. If you're used to all this, what you could do is hold alt between these two. So this curve now that allow comes up and is now effecting just that come back into the properties of the curves. And let's just decrease some blue to make the hair just a little yellower to fit in there. And possibly increase a small touch of the green arguably. I think we should be doing this in the shadows by here, something along the lines of that. And if we zoom back out, that is now much better color corrected into the actual yellowness of the shot. And you can see it now. We took, got a really cool hairstyle, just really, super quick. I mean, that is, that is awesome. Obviously, if we click here and go back to properties, the other ones didn't really hold up, but the first one certainly did. And I'm sure if we generated a few times with a couple different prompts, we would get something that is super awesome. Okay, so that's it for this lesson. Now in the next lesson, what we're going to do is we're going to have a look at adding jewelry to actors and people. So I look forward to seeing you in the next lesson. 7. Lesson 6 - Adding Jewellery to a Model with Generative Fill: Okay, and we're back. So we got another image here of a lady on a laptop. So I want to give her a necklace. So let's go ahead, get our lasso tool. You know the drill. Let's draw in something along the lines of this. Let's come up, it doesn't matter that we're going over her hair, but there, let's make a little bit larger at the bottom, so there's room for something to dangle. Let's go diamonds necklace. Okay. So this is looking pretty cool, I think because I went wider at the bottom. It's really kind of looking into that and taking that on board. Again, it's doing that here and here. So I think this one's probably the best one. You could go ahead and you can try and type in pearl necklace. So let's go and do that. I've found that sometimes if I type it in a pure and click Generate, it still looks over here. So this again, it's a bug that's gonna get figured out. So I'm just going to type it over here and go Pearl necklace and click Generate. Cool. So let's have another look. Here we go. We've got probably very similar results here. Yeah, awesome. So they're quite cool as well. So now this model has whatever necklace she wants that is really awesome. Let's go ahead and look at this one. We've got an image of a man here, and he's looked like quite a successful businessman. Maybe not yet until we give him a Rolex. So let's go around here. Let's draw just loosely. I'm not going to go tight to the edge of his arm because I'd imagined that you'd see a little bit overlapping. But here, so I'm just going to go something along the lines of this and I'm going to type in expensive Rolex watch. Okay, so this is starting to struggle now. So we've got the buckle and it's not looking very good, and that's a little bit better, but also not doing very well. So what I'm going to try and do is I'm just going to type in Rolex Watch. And if that doesn't work after generating, I'm just going to type watch and I'm gonna see if I can get it better. So you can actually see here, I've done 24 generations. And honestly, I think the best one I've probably had is this one, which is one of my earlier ones. Now I'm really glad if you zoom out, you probably wouldn't notice it too much. But I am really glad that this happened, because what I think is really important is to acknowledge how powerful AI can be. But also that sometimes it is really difficult to get AI to do what you wanted to do. So this isn't a bad thing. I do think that AI will certainly catch up with us and it will be able to perform these things even better. This is certainly the early dates, but it's also important to know that having Photoshop skills for this craft is really important. We can't look to rely solely on AI. So see if you guys can come up with something. What you could potentially try is you could potentially try scrapping this and possibly redrawing the mask. Maybe make the mask a little bit wider and see what happens there. Perhaps that'll help. And you know what, I've just tried that on my first go. I've got at least a watch strap that is looking a lot better. So I reckon if I go ahead and do this a few more times, I think I'll get something that's working really well. But this is another important thing to realize that if it doesn't work on the first attempt, try redrawing the mask. Try again, start from scratch. It's all about not relying 100% on the AI. But again, you need to make sure that you are guiding the AI as a tool, very, very carefully steer it towards what you want. Okay, cool. So in the next lesson, what we're going to do is we're going to have a look at adding clothing onto a model. So you can see we're slowly doing more more and building up to bigger and bigger things. So I look forward to seeing you in the next lesson. 8. Lesson 7 - Adding Clothing to a Model with Generative Fill: Okay, and welcome back. So we have two images here, This one and this one. Now on the face of it, this one probably looks like it might be a little bit harder because we've got hair over his chest, these sort of bands up here. And his arm is crossing over his chest. So to add a shirt onto him might actually be quite difficult. So what we're going to do is we're actually going to start with this one, where at least we can see on this lady by here, we've got everything sort of separated, nothing crossing over. So this one should be easier. So what we're going to do is we're going to go ahead, I may, in this instance, use the polygonal lasso tool. So I'm just going to come in with this, go around and click in the shape of a T shirt or whatever you want to add. Rest, top dress, whatever. It's completely up to you. I'm just going to go ahead and add a sort of T shirt shape within here. And come up, just give it the general shape down, but you can also say whatever color shirt you want. Absolutely. Up to you. So let's come in here. And there we go. Now, because I've used the polygonal lasso tool, I just find it easier to draw with what you could go ahead and do because it's also going to regenerate some of the sand. Probably what you could also go ahead and do is come in to select and modify. And just give it a bit of a feather of about five pixels just so when it generates something new, it's not really sharp edges, it's something you can do every time anyway, so I've just done that and I'm going to go in with generative fill and type T shirt and click Generate. Okay, so let's look at the results. I'll be honest, that's not bad. It's a little bit kind of shrunko waist quite a lot. But there have a look at this one and that one as well, that's quite good. It's again, quite fitted. If we turn it on and off, you'll see it has shrunk her waist quite a bit there. Now, that could have something to do with how I drew the mask again, thinking of earlier. So I'm going to give it another regenerator. May draw the mask again. And I'll join you in a minute. Okay, so I'm happy with this one, but here this generation again, has shrunk her waist a little bit, but it's not too far from what we started with. And it's also shrunk her shoulder. Now, I did do another version where I actually went really, really wide with the mask and these are the kind of results I was getting. It was a lot more loose and a lot more kind of, well, not working as well. So again, just bear in mind your mask could kind of be having an influence on your generation. So I'm gonna go ahead with this one and I'm going to zoom out and just imagine earlier we removed somebody's hat and we gave him hair. We could obviously draw around this and change the football to a basketball. Later on we're going to be changing the background of an image. So honestly, this could be so, so powerful. Let's have a look at the next image. I'm going to try the same here, and I'm going to try and add a shirt on this guy. And we're going to see if it holds up as well. Because some people may think that this may be more challenging and it might well be. But let's find out together, because again, it's really important to understand the limitations of this AI as good as it is. So let's go ahead and let's just start drawing a shirt. Now you can see I've made my selection and I've actually not even cut out this by here. This little gap. I've just gone for the whole thing because I just want to see how clever this AI is. Can it recognize where his arms are and that there's a gap there? Well, let's go ahead type in Generate. I'm going to type short sleeved shirt and click Generate. Honestly guys, that is pretty good. Yes, it hasn't got the full gap there, for example. But there could be a bit of shirt overhanging. Of course there could. I'm not even going to click through yet. Let's just have a look at this. Compared to this, that's not bad at all. I mean, it has moved his arm because again, we drew around everything. So let's moved the direction of his arm down there. That's not terrible, considering it took so consider it was so quick. And look at the hair, it's even built the hair back in. I would arguably say the worst part of this is the little button thing, but there is almost like a little hole in his shirt. Everything else is insane. So let's go back to properties. Let's have a look at this one that's cool. I don't think the texture on his skin here is holding up, but you could obviously, you could just go ahead and you could lay a mask that and erase it. Let's have a look at this one. Yeah, I mean, it sure could do with some iron in the pattern isn't holding up. But again, these two honestly, really, really good. The white one I think is amazing. You could really quickly correct that. So this one as well. Now let's say we did stick with this one and that texture there isn't really holding up. So what we could do is we could come here and we could get our magic one tool just by here. And I just by hitting W click within here, I'm holding shift and we're basically selecting all this color. I'm going to turn my tolerance to 32. And what we could end up doing is undo. Just make sure that we've got all of this. And I'm just going to go for this for now. And basically on my layer mask, not on this, but on my layer mask I could draw in. Let's get a big brush and I'm going to draw black in there. And essentially what that's going to do if I hit Controlled to deselect is it's basically saying, I'm going to hide those pixels where you draw black. Now that I've de selected, I can draw anywhere and basically paint his skin back in. But you could come in and you could come down and you could basically draw all this skin back in. Do it obviously a lot more neatly than I am. And you could then reveal the bits that you want to reveal, just back underneath. Okay, and then we've got that. Now let me undo all of that and come back to this generation by here. Because again, we were saying that there was a hole there. So again, if we like this one, what we could go ahead and do is we could go and get our, let's say our spot healing brush tool. Zoom in and we could just draw in here. Okay, just click okay there. We could just draw in here and say, right, just just figure that out and it's not possibly holding up completely, but we could get some other tools. So let's merge these, select them both control and I may go ahead and get my clone stamp tool which is by here hold alt. And I'm just going to come up here and just paint the more of these pixels in. And you can see I go there, reselect. I'm basically very, very rough. Cause I am rushing, I'm fixing all that there. And you zoom out and it's all good. So really, really powerful. I'm surprised in one sense, that this fixed up a lot better than this one. But you can see just how powerful these tools are. So I'm going to leave it there, because in our next lesson we're going to do something even more exciting, where we're going to add a reflective lake to an image. So I look forward to seeing you in the next lesson. Cheers. 9. Lesson 8 - Adding a Reflective Lake to an Image with Generative Fill: Okay, we're back now. These two images I'm going to be giving you myself because they're my own images. So this is from a skiing trip last year. But what we're going to do is this is actually in this skiing resort in teen in France. This here is actually a lake, but it's frozen over in this one and it's got snow on it. Or at least I think it is. I think maybe the lake is actually by there and I think this is actually ground. But anyway, it doesn't really matter. I'd love to put in a lake here and have it reflect the mountain and all these things here. So let's go ahead and try that. So what I'm going to do is I'm going to carefully come in and I'm going to get this lasso tool again. And I'm just going to draw around just around here quite loosely. I'm going to draw around here because this is where I want my lake to be and just come back round. I accidentally messed up a bit. There's a whole shift to add that in. And I'm going to type in reflective lake and click Generate. So here we are. We've got some reflections Now, I did actually generate this twice. I wanted to add something. I wanted to add lake water and ripples because the first three were almost image reflections like like a mirror. So now I've gone ahead typed in lake water comma ripples, and look at these. I like this one and I like that one. And honestly, if you zoom out that really does hold up for literally 30 seconds, you honestly can't complain. Now I've got another image here. This one's a bit more of a sort of high up shot, and I feel it's probably going to work better here because you've got the sort of where you'd expect a lake to kind of meet houses. And you wouldn't necessarily expect to see one up this high because these are high mountain. So what I'm going to do is I'm just going to draw loosely around here. And I'm going to try here as well. And we're going to see again how it ties up. So I'm going to go general to fill lake water and ripples or let's go ahead and try it without ripples to see what it does, okay? So for literally 30 seconds even this is not a bad result because you can tell that we're really high up. There isn't a lot of detail in here. So you can also have a look at this one. I mean, it's added its own islands that is really cool. The reflections are ultra real because it's such a massive mountain from such a distance away, it's really got the scale right by there. Let's have a look at this one. Again, I'm not, I don't have any issues with this one. I don't like where it joins because you'd expect there to be like a tree line or something there. Whereas these ones are a lot better. And honestly, that's pretty good as well. For 30 seconds, you cannot complain about that. Cool, so I mean, that one I've found really, really cool. But in the next lesson, what we're going to do is we're going to have a look at changing the background of an image. So again, hope you enjoyed so far. Let's jump on into the next lesson. 10. Lesson 9 - Changing the Background of an Image with Generative Fill: Okay, so here we are. We're back again. Now I've got this image here again. We'll have the link to it. And I want to, well, I've just read it from there overnight. I want to remove the background or replace it. Now what you could do is you could go ahead and you could kind of select that background for yourself. Maybe a bit difficult with this little antenna coming up, or you could argue you've got more control over it. But what we're going to do is we're going to have a look down here at this little removed background. So if I give this a click, what you'll notice is it should make a selection or it's actually removed the entire background. However, I don't like that because if we turn this layer mask off, disabled layer mask, you'll actually see that it's kind of gotten rid of the table. I only want to alter the background. So what I'm going to do is I want to actually keep, like we said, this little window silver here. So I'm going to come in and I'm actually going to draw around that part which isn't currently being kept. So let's just go in there and just come across and there we go, like that. And I'm just going to come down, just draw a little box around it. And what we can do now on our layer mask, not on this but on our layer mask, right click. And we'll enable it again. And we can get our brush tool, and basically we want draw white now in where we want to see it. So if we draw white back in here, we're actually bringing it back in. So that was a little bit of a quick way of doing it. You could go ahead and select and modify feather by five pixels because it was a bit of a blurred end on the edge but there. And also if you look really closely, hit control or command D to deselect. We want to get a really small brush still on the mask. And you may want to just draw this back in like that. And that was basically a quick way of doing it. Sometimes depending on the image, it'll remove exactly what you want. But again, we can't look to rely solely on AI. So we've now separated this from the background and we want to actually fill the background. So how do we do that? Well, we need to select these transparent pixels. So first let's go ahead and just go and create a new layer. Select them both, and hit control E. So you've got all this on one layer. Now what we can do is we can use our magic wand. So just come here, magic wand. And I'm going to say expand this by just a couple pixels. So let's go select Modify. Expand by two pixels. There we go. Something like that. And click Generative, Phil. And I'm going to put Beach and click Generate. Okay, so this is what we've got. We've now got a little bit of a beach in the background. Let's click through, and you can see it is actually trying to build something where that antenna is, so you may want to generate a few times, but you can see we have successfully separated this from the back and it is doing quite a good job. You can click through and carry on generating, and this is now generating something in the background. So we've got another example here, possibly more complicated, but because it's a person, we may actually be able to select the subject. So let's go ahead and see if we can select the subject. Okay, look, it's done that in 30 seconds. So now that we've selected the subject, we could go ahead and remove background. But what I'm going to do instead this time is show you a different way we've selected the subject. So if we go to Select and inverse now it's selected the background. So I can click Generative Fill. And I'm just going to type a temple. So we'll put a temple in the background and click Generate. Okay, so let's click through and okay, the images are quite a bit large, so I mean, that one's not too bad. You can see it's in the entrance to a temple. You can go ahead and maybe let's go for, I don't know, let's go for something generic like forest. Okay, so that's pretty cool. Let's click through. Yeah, that's fine as well. Yeah, I like that. It's got some depth of field there, so let's consider this. You probably thought this one because it's like a cube and just like a sort of rectangle wing window sill. Lots of simpler shapes that this may have been easier, but actually we did use a different method this time with this one. We selected the subject, then inverted it, and then use generative fill. Whereas this one we clicked, remove background, and then we did a couple things with the layers. So yes, there's two different ways. I do prefer doing it this way, but it's important that I wanted to show you both ways to do it. And again, because the AI is trained on loads of images, actually, it's trained on hundreds of millions of photos of people, whereas it's probably not got as many images of a radio on a window sill. So actually this one was a lot better at actually recognizing where the subject was. So that is how to change the background of images with generative fill. And in the next video we're going to look at changing the style of an image with transparent generative. Phil. Really, really interesting. So let's go ahead and jump into the next lesson. 11. Lesson 10 - Changing the Style of an Image with Generative Fill: Okay, and we're back with probably the most exciting lesson in this one, to be honest, because we do have a cute little puppy here. I could probably leave this on the screen for the remainder of the lesson, and you'll probably be happy. But I'm not going to do that. I'm going to show you a really cool technique now using this image. And there is also another image for you to play around with, which is this one which we may not even get on. Because again, what a cute dog. So what we're going to do here is we're actually going to play with the strength of generative Phil. And I'll explain what I mean. What we're going to do is we want to translate this to a watercolor painting. But if we just go ahead and just do it by just by selecting normally it'll just generate a completely new watercolor painting, so we need to use a quick mask mode. So with this background selected, hit Q, and you'll notice that goes red. Now let's go in here and click this top color. And I'm going to come and type 50% in here. And it's going to go 50% black. So not white, not black, 50% gray there, right in the middle. And click Okay. What this is going to do is if we hit Alt backspace, it's going to fill it. It's going to select the whole area, but it'll acknowledge there's 50% dog and 50% new. Think of it like that. So hit Q again, so we did Q, change the color, Alt backspace, and then Q again. And now we've selected. So let's click here and type in water color, and click Generate. Okay, so let's click through. These are pretty cool, they're quite nice. You can see that it's certainly acknowledging the dog is there. That it's the same composition and same shape, but it's certainly put its own style on there. So what I'm going to do is I'm going to double click here and I'm going to type 50% because that's the shade that we used, wasn't it? Now let's say we want it to be a lot similar, a lot more similar. Well, let's go ahead and click Background, hit a Q, and click down here. And now this time what we want to do is we want to make it a lot darker. So let's go to like, I don't know, 20% in the black. Okay, well actually let, why not? Let's go 12% and click Okay. Now let's go Alt backspace. Let's just turn this top player off and hit a Q again, and generative fill. And let's type in watercolor and click Generate. Okay? So let's click through because you can see that this is very, very similar to our original one. So, so similar it's almost just put, almost like a filter on it. Now, this one, I can't remember what color we were. I think we were at 12% weren't we? So let's just lay the list. 12% and you can see the difference between the two. Even 50% acknowledged that the dog was there. But 12% is staying very, very, very true to the color, to the composition and to the image. Just click through here. Now I just typed in the one word, water color. You could type in literally whatever you want. So I'm going to do another one now. I'm going to hit then make sure this is selected, sorry. And then I'm going to come to this and I'm going to go all the way up to the white. And I'm going to go like 95% Click Okay. And then hit Alt backspace and Q again. Now general to fill, I'm going to type in watercolor and what you'll find is it's 95% not looking at the dog. And so when I type watercolor now it's probably just going to generate a random watercolor splodge or random watercolor painting completely, completely different, because it's only 5% looking at the dog, 95% new. So let's have a look at what it generates, okay? You can see completely different, it's 95% something new. So let's just go ahead and type in 95% So that is how you can use the, let's put these in order so you can see now that's how you use generative fill the different strengths. Now you can go ahead, let's go back and hit Q again. Let's go, I'm just going to go sort of round about 70, but there, there we go, 71. There you're 70. Because you could try stuff like Pixar, Disney Pixar character, stuff like that. So let's go ahead and give it a Go Alt backspace and then generative Phil and Disney Pixar style, and click Generate. Okay, so this is really interesting. Not quite what we were looking for. I mean, that's a bit like bolt. No, definitely not. So something that we need to try around with there is we need to try around with Disney Pixar. Was it really listening to that or was the problem the strength of what we were doing? Do we need to do that again, but a little bit weaker? Maybe come down to a sort of 12% range. Play around with those different colors. Maybe Disney Pixar style, it's not quite picking up on. And you go for cartoon. I'm going to pause this and I'm going to play around with a few and I'm gonna tell you what worked for me, Okay, so here is probably the closest result I got. I don't think it's quite there with the Pixar and the cartoon style yet. But you can see, obviously, if you do acrylic style, anything like that is really, really cool. So I used for this one sort of 70% black, which was sort of 30% of the original image then. So that's what I used there and the prompt I was using was cartoon vector illustration. I did try Disney Pixar and all that, but it just isn't quite there yet for that. But it's still really, really cool. So I've gone ahead and I've had a look at this image. I'm not going to show you the process again, but you can certainly play around. I went for a promptier of acrylic painting and I really like that. I think it's just really cool that's generated that so quick. So I hope you guys enjoyed that lesson. I hope you play around and create some really cool things. Now in the next lesson, what we're gonna do is we're going to have a look at removing background people from photos. Because if you're taking a photo on holiday and you want to upload it to Instagram or whatever and there's people in background, that can be really annoying. But that is where generative Phil can really help you out. So I look forward to seeing you in the next lesson. Cheers guys. 12. Lesson 11 - Removing Background people with Generative Fill: And we're back. Cool, So here's an image of a girl. She's outside some sort of temple or mosque or something like that. And unfortunately there's people in the background and there's birds. So this is where generative Phil can really, really help. So let's zoom in. And we're just gonna worry about these people by here because I can go through and do them all, but it'll just take too long and you'll get the point by the time I'm done. So I'm going to go ahead and I'm going to get the last and I'm first of all just going to draw a perhaps this guy, I'll encompass these birds as well. Just going to draw around them as well and go up there. Now I'm just going to hold alt and minus the silk key bit out here because I just don't think I need that. And I'm also going to hold shift and just plus in a little bit of his leg by there. Cool. I could also go ahead if I wanted to and include his shadow. Because again, I don't want to shadow there. So hold in the plus. I'm just going to go ahead and then go Generate to bill and type in remove and click Generate. Okay, so let's have a look. Funnily enough, I'm not too surprised because it analyzed the image. It's actually drawn in more pigeons. But now I'm not really bothered. I'm probably gonna pick the one with the least. So it's that one but there. So I'm pretty happy with that one. So let's go ahead and just click off next. I'm going to focus on this man, and I'm probably going to do a few of the pigeons and birds as well. So I'm going to do a little bit of work and I'll see you once I've unpaused. Okay. And we're back now. I have completely removed everything. I only took me, honestly, about probably about 10:10 minutes. Because what I did is I removed, obviously there were some distractions which I didn't like. There were also some birds, loads of birds on the floor and there were these people. So this is where we've come from and this is what we've got to for your perfect instagrat photo. Really, I'll show you a quick breakdown. I've done about, it must be 24 instances of looping stuff and typing remove. And honestly I don't think for any of them I had to go through more than the initial generating three. So I basically, let's turn them off. Kind of not one by one, but you can see that I did do one big there, let's turn that off. But I did, starting there, I did one sort of big group then, a lot of these kind of little ones on their own. Because I felt if I just circled everything, I'd circle a lamppost. And if I spent time kind of doing everything, then I felt it would be better. I did all these ones together. I felt it would be better just to do it bit by bit. So those are the people. And you can see then there was a lot in the birds, so let's just turn them all off. And you can see that I did start sort of doing one by one, looking down here, one by one. But then towards the end, I did get more confident in doing them in larger groups. And you'll see that happen on this side. Sort of big group. But then, and then I thought, so it, let's do the whole thing. And there you go. And then there are a couple birds flying there. And then I just thought we've come this far, let's get rid of a few distracting things that are sticking out, and here's our final image. So that is really, really, really cool. Now what I am going to do is I'm going to let you kind of have a look at this image. So it is again just kind of going through circling and going remove. You'll probably find it quite difficult once you remove this guy to do all of these down here. Because I don't think the AI would have kind of enough knowledge to know what should go there. But honestly give it a go, see what happens. That's a little bit of an extension task. What I will do at the end of this video is I'll give you a 32nd sort of time lapse of me working through here so you can see how I was working. But yeah, this is really, really powerful. We're starting to really harness the power of this AI now. So that was it for this lesson. Now in the next lesson, I look forward to seeing you because we are going to remove someone from a group photo. So taking what we're doing here, but bringing it forward literally closer to the camera and building on that. So I look forward to seeing you in the next video and the time lapse. 13. Lesson 12 - Removing People from Group Photos with Generative Fill: Okay, well, I hope you enjoyed the elevator Music in that last video, and that brings us smoothly onto this video where we're going to have a look at removing someone from this group photo. Now, I haven't pre planned this, so I haven't got any idea who I'm going to remove. I don't want to remove anyone in the front. I want to remove someone in the back because they may be a bit more tricky or arguably more tricky in the front. So let's go ahead and remove this guy by here, because they'll have to rebuild this lady. So let's go in, and you'll probably know the drill by now is it's going to be the same as before. But obviously it may be a little bit different because we were moving small people in the last one. And now we've got a lot more detail in this that we want to work with because it's a lot larger, so any imperfections will really stick out. So what we may find is we may find that we may need to do it a couple times. Maybe adjust our masks, for example. I'm just holding. Plus I want to get rid of these shadows as well. And I didn't include all of his hands. But it'd be interesting if we could leave the laptop on the table. So, you know, you may find that you need to do this a few times and try a few different things, a few different masking techniques. But yeah, let's have a look and let's just include that. I think that'll probably be there. So yeah, what I'm going to do now is I'm just going to go and generative fill and type the move and let's just see how it cops with it. Okay. That was literally, honestly it was 25 seconds and this is where it's done. Not a fan possibly, of the hand. It's not perfect, That hand isn't perfect. But you know, with a little bit of Photoshopping, you can have a look at that. And also this is just the first one. I'm confident if this is where we started, that's okay. But I think she's I think the proportions are out a bit there. I prefer this. And her arm just gets a little bit wider there. So let's have a look at this one. That's amazing. I mean, turn this on off. That is honestly amazing. I mean, I'm potentially not a fan of this table there. That corner looks a bit weird, but, you know, based on what we've done before, we could go ahead and we could fix that later by merging these and just drawing over the top. So let's go ahead and see if we can remove someone from the back. So let's remove this lady by here. So we will have to cross over into this lady's hair a little bit and down here and up there. And so basically this one actually may be a bit more challenging, because all of a sudden we've got to rebuild 123 people. So this one may be a bit more challenging, but honestly, I don't know. I really don't know whether it is going to be. So let's go ahead and again, just go generative fill and type in remove and generate. Okay. Honestly, for 20 seconds and for the first image that is, I mean, that's almost perfect. His arm arguably gets a bit thin but there, but like I'm not too fast. That is perfect. And yeah, I mean, I'm probably going to go put that one. Not a fan of what that is, but there. But again, we can fix that. So let's have a look. Let's zoom out. This is what we have got. So we've gone from this to this. I mean, really, really quick. So what I'm going to do now is I'm going to merge these. So ship select and control or command E, bring them all together. What you could have done actually is you could have duplicated them all and then merged these ones at the top of command E. So that's a copy. And then you can turn these ops. You've always got them if you want to go back to them as a safer way of working. So there we go. Let's now work on this one, because I'm just not a fan of this but here, so I'm just going to go ahead click in here and actually I'm going to get generative fill. And I'm not going to type anything, I'm just going to see what it does on its own because I just don't like that angle there. Okay. So by not typing anything, it's looking at the whole image. And I'll be honest, I mean, I do prefer that. Again, you could probably now build on this, merge these, and I may come in and just say this bright bit because it is a bit distracting, this bright bit. By here, let's do our old friend from the last lesson and let's go remove. And just like that it is gone. I think I'm going to go with that one. So we fix that side. Now I just want to fix this side really. And I'm just going to come down here, I'm going to try and go quite tighter on this because I don't want to really intersect their suits. I just want it to focus on this back a bit. By here I'm going to go generated Fill. And again, I'm just going to click Generate. Now it's interesting. You can see up here, if you look here, I've actually had a bit of a warning. It says the generated images were removed. Please review and try again. I don't know why it sometimes does that. It could be a bit of a bug. It may be generating something that isn't, you know, very nice. Now that notice was going over my two screens again, I don't know why it always does that. However I can figure it, it doesn't, it doesn't pay attention. So what I am going to do, so I'm going to try again and just make a bit of a different selection and just come around and I will go over into their suits this time. So I'm just going to click Generative Fill and see what it does. Okay, and I've got that again now. You can request to review if you really want to. You can view the guidelines, but honestly, I'm not too bothered with the boss going on there. If you want to to, you could use your Photoshopping skills to get, I don't know, get your clone stamping tool hold Alt and kind of paint. Let's just go and paint your color sort of in down here and just do it like that. You could do it manually. But again, we could have gone back into our previous generations which we saved. And if we turned these on, we could have gone in here and we could have just generated again. But in all honesty, the main thing was removing two people, and it has done a really, really, really good job of that. So I hope you enjoyed that lesson. Guys, join me for the next lesson where we will be doing a sky replacement with generative fill. And then we are nearly there, we'll have another lesson and then our final class project. All right then folks, cheers for joining in, and I shall see you in the next video. 14. Lesson 13 - Sky Replacement with Generative Fill: Okay, You probably know what I'm gonna do in this lesson, don't you? Yeah, I'm gonna use my selection tools and I'm gonna select the sky. Or am I? I could go ahead and select the sky like this, but that's a bit of a long way to do it. What you can do is you can come up select and go Sky. And hopefully I'm hoping this selects the whole Sky now. Otherwise it's gonna make me look silly. Yeah, it's got it. Let's just double check though. It's got all around there. Perfect. Could I'm gonna add with my magic one selected. I'm just gonna click down here holding shift and I'm going to add that in. I'll have to come and subtract that as well. So it got us most of the way there. Okay, cool. What I'm gonna do is I'm gonna get my magic 12. I'm gonna bring it down to about 16 tolerance. And now I'm going to hold Alt. And I'm going to click through just to minus out some of these bits. Again, you don't have to worry too much. This is just, this is just to show you what I would do if I was working really professionally. But, you know, this is just a lesson to show you some of these techniques, isn't it? So I can come here and I'm going to do this one perfect. Okay, cool. I'm happy with that. So we've selected the sky. It's a bit of a boring sky. Let's go ahead and type in stormy sky and click Generate. Okay, so let's have a look through. I mean, it's definitely generated a new sky. Let's have a look and see. Again, I'm not a fan of that one. That one's okay, but let's turn it on and off. All right? It's doing, it is doing a little bit of a thing next to here. It's corrupting the sides a bit. And I don't like that and it shouldn't really be doing that. But again, it's trying to build more architecture onto it. It is really, really good sometimes. But again, you just want to bear in mind that AI isn't always going to do absolutely everything perfectly that you wanted to. So what you could do is you could go to select and you could modify and contract. And you could contract by two pixels, so it's not like as close to here. So it may not try and build in. My experience it will. But let's go ahead and type stormy sky again and see what it does. Okay, so we've got a few things here. Cloudy sky, that's all right. That's all right. And has actually done it a little bit better. But again, if we actually turn this off and look at it, you can see it probably is doing a few things to the sides here. If we really look in, and again, I'm not completely happy with that. That is the limitation I found with sky replacement in AI. However, there is a bonus thing that I'm going to show you because you can actually do this in Photoshop anyway. And bear in mind if we do out this cloudy sky, it's not changing the lighting on the buildings to compensate, especially this one. You know, the building should be a lot darker. But there is another tool inside of Photoshop that'll do that. So if you're going to edit and then where is it? Let's just make sure this is selected. So edit and sky replacement. You've actually got a built in tool, so it's going to go ahead and it's going to do a bit of a selection. It may not get it completely accurate, but you can kind of, you know, alter that. All of a sudden I said, well look, we've got shift edge. So if we shift edge up here, it'll kind of eat in more and you'll want that sometimes for lighting purposes. But you know, you can kind of go and modify that and you can change your sky. Let's go to just a different blue sky than what we had before. All this kind of stuff, you can see that lighting is again eating over. So you could fade the edge less or more, that kind of thing. And you can shift it just a little bit off. And again, you've got all of these different skies. So let's go. Spectacular. And also you'll notice it'll change the lighting, So let's just go ahead and output it to a new layer. And just turn it on and off. You'll actually be able to see that the sort of color down here, if we zoom in just here, as I turn this on and off, you can see that it is affecting. So this would probably, in my opinion, be the better way of currently doing it. I haven't faded it properly there. I could go back into the settings and have a look at that, but that is probably your better way of doing it, because this image here as well. I loaded this earlier and I gave it a bit of a go just before the lesson. And this is what I was getting. I was getting that it was actually adding again onto the slope down here. If I turn it on and off, you can see a slope is adding onto the motorcyclist. I do anticipate, possibly by the time that you come to watch this, it may be fixed. So have a play around, use the other tool as well. Again, edit Sky replacement. If I come in here, it's going to do a lot better in my opinion because it's not using generative AI. So it's not a kind of g guesswork, it's a different method of how it's working. So I could again, just play around with some of these settings and go ahead and pick just even a nicer bluer sky in this occasion would be a lot nicer. And again, playing around with the settings, you've got the mask in settings here that you could kind of play around with, sort of paints of stuff. Anyway, I'll let you guys kind of have a look at that. So that's it for that lesson, for replacing Sky with generative Phil. In my opinion, it's got a little bit of a way to go like I felt it does with the hair. But again, this is only getting better. So I look forward to seeing you in the next lesson, which will be our last lesson with generative Phil before our final class project. Look forward to seeing you guys then. 15. Lesson 14 - Generating Full Images with Generative Fill: Okay, so I haven't actually got anything open in Photoshop this time, and that's because we're going to use generate, fill to generate entire images. Sounds pretty cool. So what you'll want to do is get a file new and just make a new document. I'm just gonna go print and let's go. So I art an illustration, 1,000 pixels by 1,000 pixels. Okay, cool. What I'm gonna do now is just go ahead select. And he probably guessed it, generative. Phil, I could just click Generate. And I wonder what it would do. Again, that's really weird because I gave it nothing, absolutely nothing to work on. Just white, just a white canvas. I didn't even give it a prompt. And this generated, I mean, that's pretty cool, isn't it? And that one. So what you could literally do from here is you could go ahead and think, okay, let's use the first technique and do generative expand. Cool. Okay, so it's done some stuff there you could think, right? Okay, I want to add a hot air balloon or a car. Let, let's add a car. So you could almost just say, right, okay, I want to add a car somewhere in there. Let's just kind of come down here as well. Otherwise, it's just gonna look really, really weird. There we go. So add a car in here and all of a sudden you have got something completely new which you didn't before. Now you may want to kind of draw the car kind of somewhere out there. So it's a small kind of car. I've completely screwed that up. But you may want to do a car somewhere out there. But you've got something completely new, so let's try it again. Let's go to a file new 1,000 pixel grid, and let's go ahead and say I don't know, park bench and click generate, Judge. Okay. So that's not what I was looking for. It's got very much a close up, but that's okay. What I'm gonna do now is again, I'm just going to use the generative expand just to give us a little bit more. And let's pop out like this and click the tick. Cool, So I've got my park bench. I think I'll go for this one again. I could just use generative expand. I could start drawing something in. I could say, man sitting there, dog. Anything. So that is the true power of generative fill. You can start from nothing and build something. So I really hope you guys can have learned a few things there that you don't necessarily need an image to start with. You can apply any of the skills that we've used throughout this. So maybe half transparency generator filled to change of the style to a vintage photograph or something like that or a pencil sketch. So yeah, I hope you guys enjoyed that. I'll see you in the next video which will be your second class project, so I'll look forward to seeing you then. 16. Lesson 15 - Class Project 2: Well it's class project number two. We're nearly there. I hope you've enjoyed all the content that you've watched so far. So what I'm going to do in this class project is I'm gonna give you two images and it's completely free reign up to you. I want you to do whatever with these images. Think back to some of the lessons we've done. We've expanded the canvas. We've removed things, added things changed the style. The world is your oyster. I'm super excited to see what you do with these two images. So please, please, don't forget to upload your results and give a little comment of what you did so we can all share Best practice. As I mentioned, I'm super looking forward to seeing what you do with these images, but also from me. Thank you for joining in the course. I hope you enjoyed, I hope you learned loads and I look forward to seeing you in future courses.