metadata
tags:
- sentence-transformers
- sentence-similarity
- feature-extraction
- generated_from_trainer
- dataset_size:90
- loss:MatryoshkaLoss
- loss:MultipleNegativesRankingLoss
base_model: intfloat/e5-small-v2
widget:
- source_sentence: >-
How does the improved Content Aware technology in Photoshop CC, including
the use of Color Adaptation and adjustable Structure and Color settings,
contribute to image refinement when removing distracting elements and
repositioning objects, and what tools are specifically mentioned for these
tasks?
sentences:
- >-
bit and make that bird look like it was in the original image. So as you
can see, refining images is easier than ever using the Content Aware
Fill, the Patch Tool, and the Content Aware Move Tool in Photoshop CC.
- >-
bit and make that bird look like it was in the original image. So as you
can see, refining images is easier than ever using the Content Aware
Fill, the Patch Tool, and the Content Aware Move Tool in Photoshop CC.
- >-
<2-hop>
bit and make that bird look like it was in the original image. So as you
can see, refining images is easier than ever using the Content Aware
Fill, the Patch Tool, and the Content Aware Move Tool in Photoshop CC.
- source_sentence: >-
How can a beginner use the Perspective Warp feature in Adobe Photoshop to
manipulate perspective, such as straightening buildings and changing the
viewpoint, and what steps and controls are involved in this process
according to the provided guide?
sentences:
- >-
<1-hop>
>> Removing distracting elements is easier than ever with the 2014
release of Photoshop CC. Not only has the Content Aware technology
improved in terms of quality, but the speed has also been improved
significantly. Let's go ahead take a look at a few examples. Now in this
image of the cactus, I'm going to select the Lasso Tool and I simply
want to get rid of this cactus here in the background. The easiest way
to do this would be to select Edit and then Fill. I'll use Content
Aware, but when I click OK, you'll notice there's a little bit of a seam
here where the colors aren't blended very well. And that's because, in
the past, the Content Aware technology really focused on the texture in
the image. So let's undo that Command + Z or Ctrl + Z. And this time
when I select Edit, Fill, I'm going to use the new Color Adaptation
option. This time when I click OK, you can see that Photoshop does a
much better job in blending those colors. Now let's go ahead and try to
remove the other two cacti here that are blurred. So I'm going to go
ahead and just zoom in a bit, and you can see that we're going to have a
problem probably right in this area. So what I'll do is I'll just select
this area here because I know that I want this flower to be preserved,
right. So I will just drag a little selection around it. And then I'll
hold down the Shift key and I probably want to drag around this area
right here, and I'll also want to preserve this area here. Now what I
can do is I can just jump those up to their own layer using Command + J
so that now we've got just that area on its own layer. I want to make
sure that I go back, I drop down to the background layer, then I'll zoom
back out and then all use my Lasso Tool and I'll make kind of a general
more broad selection around this area here that I want to patch and then
switch over to the Patch Tool. Now I need to make sure that the Patch
Tool is set to Content Aware. And let's take a look at the Adaptation
Options. It used to be that we only had one option here. But now I can
change the structure, which is going to help blend the edges. Let's go
ahead and make that just one for now and I'll leave the color set to
zero as well. The great thing about these settings is that I can always
come back to them even after I use the Patch Tool in order to select a
different area of the image. So you can see that it's done a fairly good
job. It just has a little bit of a problem right down here. But let's
try changing some of these options. So if I change the Structure up to
3, for example, we can watch as it goes ahead and it recalculates that
area. And that's looking much better. Now I also am looking at the color
area here, and it just looks a little bit blotchy, so I'm gonna move the
Color up to 5. Now the Structure has a range from 1 to 5. But the Color
actually has a range from 0 to 10. So this is looking much better, it's
not as blotchy, but let's see what happens if we actually move it up to
10. I think now we can see that that background area is really blending
in a lot better, so I'll go ahead and deselect. So you can see how just
copying that little area up onto its own layer helps me to use these
Content Aware tools around edges of areas that are really busy. Okay,
let's move to this other image right here. Now not only do I want to
reposition this bird, but I actually have two layers in this document
and I want to take this bird and move it over into this background area
where you can see there's quite a difference between the blues. So let's
switch to the Content Aware Move Tool and I'll make a rough selection
here around the first egret and then I'll reposition that bird right
down to here. Let's go ahead and zoom in a little bit and pan over and
take a look at what we have. I'm gonna use Command + H or Ctrl + H in
order to hide those edges. And let's look at the different options. If I
move the Structure up to 5, you can see that the bird is actually
rendered a little bit better. But with the Color set down to 0, you can
see this mismatch between the background of the bird from the position
in the sky where it was to this area here. So let's move the Color also
to maybe 5. And it does a much better job blending. Now let's zoom out
again. This time, I'm going to select the bird over on the right-hand
side and I want to scoot it over. So we again, I'll use the Move Tool,
I'll drag it over and position it the way I want it. And then we can see
how good of a job it does at blending. So it's done a really nice job.
Let's go ahead and zoom in again. And one of the reasons it did such a
nice job, as you can see here, that my Color blending is set up to 5.
Again, I'll hide the edges here so we can make sure that we see that
seam using Command + H or Ctrl + H. And if the blending wasn't enough,
we could go ahead and move this to 10. That's just going to help the
seams a little
- >-
<1-hop>
>> What I want to show you in this video is something that is absolutely
amazing. It's a brand new feature in Adobe Photoshop Creative Cloud
called Perspective Warp. Now I have a photograph open. I didn't take
this photo. It was taken by a company called PhotoSpin. And don't forget
if you want to follow along, you can download the assets for this video.
What I want to do first though is make a copy of it. I'm going to drag
it down- this is one way to do it-make a copy. That is not necessary,
but this way we get to see kind of a before and an after. Now it will
work with just about any image, but your first test is to go up to the
word Edit on the pull-down menu and go down, and you better see
Perspective Warp. If you don't, no big deal. Just go out to the cloud,
and download the latest version of Photoshop. Now what does it do? What
does Perspective Warp do? It literally allows me to re-enter a
three-dimensional world to change the perspective of the image as if, as
the photographer, I change my position. Now we're going to do two
things. One is very easy. I'm going to straighten the buildings out. The
other part's more fun. Change the perspective. Now, we've got the tool
selected. You do this by building grids, perspective grids. So if I
click somewhere, you can see your first grid. We can get in the middle.
Let's talk about how this works. Get in the middle. Move it around as a
whole. Go to a pin, move the pins just like that. If I go to the side,
top, or bottom and drag, I can move it. But the trick is if you hold
down the shift key at the same time and move it, it changes the
perspective too. It can help you out. The other thing I do like is if
you select a pin, you can use your arrow keys to gently nudge it into
place or get on it, click it, delete it. Now we need two. We're working
with a three-dimensional item that's been compressed two dimensionally.
We need two planes on this, and we're going to use this right here as
our dividing line. Click and drag this time. Save you some time in
moving it around. I'm going to leave it right there. I'm going to come
up here and click this one and move it over. What I want to do is grab
and select that line. Now down here, I think I'll use my arrow keys. Do
you have to do this? Not really. But if you do, if you spend the time to
get these lines down right based on perspective of the image, it's going
to save you time later on. So I'm going to come over here and grab this
one. I'm going to drag it down. Now I can use these lines to match up
with these, and that's what I'm doing. Let's do this one down here too.
So what I'm trying to do here is just match those up. Let's come down
just a little bit more, just about like that. That doesn't look too bad.
Now we need the other side of our box, if you will. So if I click and
drag, I can make another one of these. Now here's the fun part. Grab it
right here, and drag it over. Don't hold the shift key. Just drag it
over until you see a blue line up here. Let go. Pin to pin, it will
match it. We can now do the other side. So what I'm going to do here is
bring that over and again, I can use these lines here against those
lines there. And I'm going to try to line that up as best I can, come
down to this one obviously and bring that one up just about like that.
Again, don't forget you can use your arrow keys if you want it precise.
That's not too bad. What I want to do is extend it out. So hold the
shift key before you drag it just like that. All right. Now we've got
the box built around the buildings or whatever the object is. Come over
here and click Warp. Now when we move the pins, it will change it. Now
since I took the time to get the angles and the first thing I want to do
maybe is straighten it out. That's going to be much easier. Click this
button right here and watch what happens. Well it begins to straighten
it out, but the pins are still independent. In other words, I can come
over to this one and still move it if I wanted to. if I don't like what
it did. I find most of the time that if I spend the time to get the
perspective, it does help things out. Now you have another one that does
your horizontals if you want to do that. We don't. This one does both.
This one says, "you know what? I so messed this up. I wish I could start
all over again." And if you click it, it will take you right back to
where you were. You say, "I want to redesign the whole thing," you can
click here. Go right back to Layout. Let's go back here, and let's click
that button again because that did work. Now that's easy. In fact you
might not even need Perspective Warp to straighten a building. What I
love about it is changing the perspective. Now if I come down to this
point right here and move it, these are still independent, and here's
the trick. Come over to this line, hold the shift key down until it
turns yellow, and then click on it. Now that does two things. If it
- >-
<1-hop>
>> What I want to show you in this video is something that is absolutely
amazing. It's a brand new feature in Adobe Photoshop Creative Cloud
called Perspective Warp. Now I have a photograph open. I didn't take
this photo. It was taken by a company called PhotoSpin. And don't forget
if you want to follow along, you can download the assets for this video.
What I want to do first though is make a copy of it. I'm going to drag
it down- this is one way to do it-make a copy. That is not necessary,
but this way we get to see kind of a before and an after. Now it will
work with just about any image, but your first test is to go up to the
word Edit on the pull-down menu and go down, and you better see
Perspective Warp. If you don't, no big deal. Just go out to the cloud,
and download the latest version of Photoshop. Now what does it do? What
does Perspective Warp do? It literally allows me to re-enter a
three-dimensional world to change the perspective of the image as if, as
the photographer, I change my position. Now we're going to do two
things. One is very easy. I'm going to straighten the buildings out. The
other part's more fun. Change the perspective. Now, we've got the tool
selected. You do this by building grids, perspective grids. So if I
click somewhere, you can see your first grid. We can get in the middle.
Let's talk about how this works. Get in the middle. Move it around as a
whole. Go to a pin, move the pins just like that. If I go to the side,
top, or bottom and drag, I can move it. But the trick is if you hold
down the shift key at the same time and move it, it changes the
perspective too. It can help you out. The other thing I do like is if
you select a pin, you can use your arrow keys to gently nudge it into
place or get on it, click it, delete it. Now we need two. We're working
with a three-dimensional item that's been compressed two dimensionally.
We need two planes on this, and we're going to use this right here as
our dividing line. Click and drag this time. Save you some time in
moving it around. I'm going to leave it right there. I'm going to come
up here and click this one and move it over. What I want to do is grab
and select that line. Now down here, I think I'll use my arrow keys. Do
you have to do this? Not really. But if you do, if you spend the time to
get these lines down right based on perspective of the image, it's going
to save you time later on. So I'm going to come over here and grab this
one. I'm going to drag it down. Now I can use these lines to match up
with these, and that's what I'm doing. Let's do this one down here too.
So what I'm trying to do here is just match those up. Let's come down
just a little bit more, just about like that. That doesn't look too bad.
Now we need the other side of our box, if you will. So if I click and
drag, I can make another one of these. Now here's the fun part. Grab it
right here, and drag it over. Don't hold the shift key. Just drag it
over until you see a blue line up here. Let go. Pin to pin, it will
match it. We can now do the other side. So what I'm going to do here is
bring that over and again, I can use these lines here against those
lines there. And I'm going to try to line that up as best I can, come
down to this one obviously and bring that one up just about like that.
Again, don't forget you can use your arrow keys if you want it precise.
That's not too bad. What I want to do is extend it out. So hold the
shift key before you drag it just like that. All right. Now we've got
the box built around the buildings or whatever the object is. Come over
here and click Warp. Now when we move the pins, it will change it. Now
since I took the time to get the angles and the first thing I want to do
maybe is straighten it out. That's going to be much easier. Click this
button right here and watch what happens. Well it begins to straighten
it out, but the pins are still independent. In other words, I can come
over to this one and still move it if I wanted to. if I don't like what
it did. I find most of the time that if I spend the time to get the
perspective, it does help things out. Now you have another one that does
your horizontals if you want to do that. We don't. This one does both.
This one says, "you know what? I so messed this up. I wish I could start
all over again." And if you click it, it will take you right back to
where you were. You say, "I want to redesign the whole thing," you can
click here. Go right back to Layout. Let's go back here, and let's click
that button again because that did work. Now that's easy. In fact you
might not even need Perspective Warp to straighten a building. What I
love about it is changing the perspective. Now if I come down to this
point right here and move it, these are still independent, and here's
the trick. Come over to this line, hold the shift key down until it
turns yellow, and then click on it. Now that does two things. If it
- source_sentence: >-
How do I use the Patch Tool in Photoshop to blend areas with Content Aware
settings?
sentences:
- >-
<1-hop>
>> What I want to show you in this video is something that is absolutely
amazing. It's a brand new feature in Adobe Photoshop Creative Cloud
called Perspective Warp. Now I have a photograph open. I didn't take
this photo. It was taken by a company called PhotoSpin. And don't forget
if you want to follow along, you can download the assets for this video.
What I want to do first though is make a copy of it. I'm going to drag
it down- this is one way to do it-make a copy. That is not necessary,
but this way we get to see kind of a before and an after. Now it will
work with just about any image, but your first test is to go up to the
word Edit on the pull-down menu and go down, and you better see
Perspective Warp. If you don't, no big deal. Just go out to the cloud,
and download the latest version of Photoshop. Now what does it do? What
does Perspective Warp do? It literally allows me to re-enter a
three-dimensional world to change the perspective of the image as if, as
the photographer, I change my position. Now we're going to do two
things. One is very easy. I'm going to straighten the buildings out. The
other part's more fun. Change the perspective. Now, we've got the tool
selected. You do this by building grids, perspective grids. So if I
click somewhere, you can see your first grid. We can get in the middle.
Let's talk about how this works. Get in the middle. Move it around as a
whole. Go to a pin, move the pins just like that. If I go to the side,
top, or bottom and drag, I can move it. But the trick is if you hold
down the shift key at the same time and move it, it changes the
perspective too. It can help you out. The other thing I do like is if
you select a pin, you can use your arrow keys to gently nudge it into
place or get on it, click it, delete it. Now we need two. We're working
with a three-dimensional item that's been compressed two dimensionally.
We need two planes on this, and we're going to use this right here as
our dividing line. Click and drag this time. Save you some time in
moving it around. I'm going to leave it right there. I'm going to come
up here and click this one and move it over. What I want to do is grab
and select that line. Now down here, I think I'll use my arrow keys. Do
you have to do this? Not really. But if you do, if you spend the time to
get these lines down right based on perspective of the image, it's going
to save you time later on. So I'm going to come over here and grab this
one. I'm going to drag it down. Now I can use these lines to match up
with these, and that's what I'm doing. Let's do this one down here too.
So what I'm trying to do here is just match those up. Let's come down
just a little bit more, just about like that. That doesn't look too bad.
Now we need the other side of our box, if you will. So if I click and
drag, I can make another one of these. Now here's the fun part. Grab it
right here, and drag it over. Don't hold the shift key. Just drag it
over until you see a blue line up here. Let go. Pin to pin, it will
match it. We can now do the other side. So what I'm going to do here is
bring that over and again, I can use these lines here against those
lines there. And I'm going to try to line that up as best I can, come
down to this one obviously and bring that one up just about like that.
Again, don't forget you can use your arrow keys if you want it precise.
That's not too bad. What I want to do is extend it out. So hold the
shift key before you drag it just like that. All right. Now we've got
the box built around the buildings or whatever the object is. Come over
here and click Warp. Now when we move the pins, it will change it. Now
since I took the time to get the angles and the first thing I want to do
maybe is straighten it out. That's going to be much easier. Click this
button right here and watch what happens. Well it begins to straighten
it out, but the pins are still independent. In other words, I can come
over to this one and still move it if I wanted to. if I don't like what
it did. I find most of the time that if I spend the time to get the
perspective, it does help things out. Now you have another one that does
your horizontals if you want to do that. We don't. This one does both.
This one says, "you know what? I so messed this up. I wish I could start
all over again." And if you click it, it will take you right back to
where you were. You say, "I want to redesign the whole thing," you can
click here. Go right back to Layout. Let's go back here, and let's click
that button again because that did work. Now that's easy. In fact you
might not even need Perspective Warp to straighten a building. What I
love about it is changing the perspective. Now if I come down to this
point right here and move it, these are still independent, and here's
the trick. Come over to this line, hold the shift key down until it
turns yellow, and then click on it. Now that does two things. If it
- >-
<1-hop>
>> Removing distracting elements is easier than ever with the 2014
release of Photoshop CC. Not only has the Content Aware technology
improved in terms of quality, but the speed has also been improved
significantly. Let's go ahead take a look at a few examples. Now in this
image of the cactus, I'm going to select the Lasso Tool and I simply
want to get rid of this cactus here in the background. The easiest way
to do this would be to select Edit and then Fill. I'll use Content
Aware, but when I click OK, you'll notice there's a little bit of a seam
here where the colors aren't blended very well. And that's because, in
the past, the Content Aware technology really focused on the texture in
the image. So let's undo that Command + Z or Ctrl + Z. And this time
when I select Edit, Fill, I'm going to use the new Color Adaptation
option. This time when I click OK, you can see that Photoshop does a
much better job in blending those colors. Now let's go ahead and try to
remove the other two cacti here that are blurred. So I'm going to go
ahead and just zoom in a bit, and you can see that we're going to have a
problem probably right in this area. So what I'll do is I'll just select
this area here because I know that I want this flower to be preserved,
right. So I will just drag a little selection around it. And then I'll
hold down the Shift key and I probably want to drag around this area
right here, and I'll also want to preserve this area here. Now what I
can do is I can just jump those up to their own layer using Command + J
so that now we've got just that area on its own layer. I want to make
sure that I go back, I drop down to the background layer, then I'll zoom
back out and then all use my Lasso Tool and I'll make kind of a general
more broad selection around this area here that I want to patch and then
switch over to the Patch Tool. Now I need to make sure that the Patch
Tool is set to Content Aware. And let's take a look at the Adaptation
Options. It used to be that we only had one option here. But now I can
change the structure, which is going to help blend the edges. Let's go
ahead and make that just one for now and I'll leave the color set to
zero as well. The great thing about these settings is that I can always
come back to them even after I use the Patch Tool in order to select a
different area of the image. So you can see that it's done a fairly good
job. It just has a little bit of a problem right down here. But let's
try changing some of these options. So if I change the Structure up to
3, for example, we can watch as it goes ahead and it recalculates that
area. And that's looking much better. Now I also am looking at the color
area here, and it just looks a little bit blotchy, so I'm gonna move the
Color up to 5. Now the Structure has a range from 1 to 5. But the Color
actually has a range from 0 to 10. So this is looking much better, it's
not as blotchy, but let's see what happens if we actually move it up to
10. I think now we can see that that background area is really blending
in a lot better, so I'll go ahead and deselect. So you can see how just
copying that little area up onto its own layer helps me to use these
Content Aware tools around edges of areas that are really busy. Okay,
let's move to this other image right here. Now not only do I want to
reposition this bird, but I actually have two layers in this document
and I want to take this bird and move it over into this background area
where you can see there's quite a difference between the blues. So let's
switch to the Content Aware Move Tool and I'll make a rough selection
here around the first egret and then I'll reposition that bird right
down to here. Let's go ahead and zoom in a little bit and pan over and
take a look at what we have. I'm gonna use Command + H or Ctrl + H in
order to hide those edges. And let's look at the different options. If I
move the Structure up to 5, you can see that the bird is actually
rendered a little bit better. But with the Color set down to 0, you can
see this mismatch between the background of the bird from the position
in the sky where it was to this area here. So let's move the Color also
to maybe 5. And it does a much better job blending. Now let's zoom out
again. This time, I'm going to select the bird over on the right-hand
side and I want to scoot it over. So we again, I'll use the Move Tool,
I'll drag it over and position it the way I want it. And then we can see
how good of a job it does at blending. So it's done a really nice job.
Let's go ahead and zoom in again. And one of the reasons it did such a
nice job, as you can see here, that my Color blending is set up to 5.
Again, I'll hide the edges here so we can make sure that we see that
seam using Command + H or Ctrl + H. And if the blending wasn't enough,
we could go ahead and move this to 10. That's just going to help the
seams a little
- >-
>> Removing distracting elements is easier than ever with the 2014
release of Photoshop CC. Not only has the Content Aware technology
improved in terms of quality, but the speed has also been improved
significantly. Let's go ahead take a look at a few examples. Now in this
image of the cactus, I'm going to select the Lasso Tool and I simply
want to get rid of this cactus here in the background. The easiest way
to do this would be to select Edit and then Fill. I'll use Content
Aware, but when I click OK, you'll notice there's a little bit of a seam
here where the colors aren't blended very well. And that's because, in
the past, the Content Aware technology really focused on the texture in
the image. So let's undo that Command + Z or Ctrl + Z. And this time
when I select Edit, Fill, I'm going to use the new Color Adaptation
option. This time when I click OK, you can see that Photoshop does a
much better job in blending those colors. Now let's go ahead and try to
remove the other two cacti here that are blurred. So I'm going to go
ahead and just zoom in a bit, and you can see that we're going to have a
problem probably right in this area. So what I'll do is I'll just select
this area here because I know that I want this flower to be preserved,
right. So I will just drag a little selection around it. And then I'll
hold down the Shift key and I probably want to drag around this area
right here, and I'll also want to preserve this area here. Now what I
can do is I can just jump those up to their own layer using Command + J
so that now we've got just that area on its own layer. I want to make
sure that I go back, I drop down to the background layer, then I'll zoom
back out and then all use my Lasso Tool and I'll make kind of a general
more broad selection around this area here that I want to patch and then
switch over to the Patch Tool. Now I need to make sure that the Patch
Tool is set to Content Aware. And let's take a look at the Adaptation
Options. It used to be that we only had one option here. But now I can
change the structure, which is going to help blend the edges. Let's go
ahead and make that just one for now and I'll leave the color set to
zero as well. The great thing about these settings is that I can always
come back to them even after I use the Patch Tool in order to select a
different area of the image. So you can see that it's done a fairly good
job. It just has a little bit of a problem right down here. But let's
try changing some of these options. So if I change the Structure up to
3, for example, we can watch as it goes ahead and it recalculates that
area. And that's looking much better. Now I also am looking at the color
area here, and it just looks a little bit blotchy, so I'm gonna move the
Color up to 5. Now the Structure has a range from 1 to 5. But the Color
actually has a range from 0 to 10. So this is looking much better, it's
not as blotchy, but let's see what happens if we actually move it up to
10. I think now we can see that that background area is really blending
in a lot better, so I'll go ahead and deselect. So you can see how just
copying that little area up onto its own layer helps me to use these
Content Aware tools around edges of areas that are really busy. Okay,
let's move to this other image right here. Now not only do I want to
reposition this bird, but I actually have two layers in this document
and I want to take this bird and move it over into this background area
where you can see there's quite a difference between the blues. So let's
switch to the Content Aware Move Tool and I'll make a rough selection
here around the first egret and then I'll reposition that bird right
down to here. Let's go ahead and zoom in a little bit and pan over and
take a look at what we have. I'm gonna use Command + H or Ctrl + H in
order to hide those edges. And let's look at the different options. If I
move the Structure up to 5, you can see that the bird is actually
rendered a little bit better. But with the Color set down to 0, you can
see this mismatch between the background of the bird from the position
in the sky where it was to this area here. So let's move the Color also
to maybe 5. And it does a much better job blending. Now let's zoom out
again. This time, I'm going to select the bird over on the right-hand
side and I want to scoot it over. So we again, I'll use the Move Tool,
I'll drag it over and position it the way I want it. And then we can see
how good of a job it does at blending. So it's done a really nice job.
Let's go ahead and zoom in again. And one of the reasons it did such a
nice job, as you can see here, that my Color blending is set up to 5.
Again, I'll hide the edges here so we can make sure that we see that
seam using Command + H or Ctrl + H. And if the blending wasn't enough,
we could go ahead and move this to 10. That's just going to help the
seams a little
- source_sentence: >-
How does the improved Content Aware technology in Photoshop CC, including
the use of Color Adaptation and adjustable Structure and Color settings,
contribute to image refinement when removing distracting elements and
repositioning objects, and what tools are specifically mentioned for these
tasks?
sentences:
- >-
<1-hop>
bit and make that bird look like it was in the original image. So as you
can see, refining images is easier than ever using the Content Aware
Fill, the Patch Tool, and the Content Aware Move Tool in Photoshop CC.
- >-
<1-hop>
>> Removing distracting elements is easier than ever with the 2014
release of Photoshop CC. Not only has the Content Aware technology
improved in terms of quality, but the speed has also been improved
significantly. Let's go ahead take a look at a few examples. Now in this
image of the cactus, I'm going to select the Lasso Tool and I simply
want to get rid of this cactus here in the background. The easiest way
to do this would be to select Edit and then Fill. I'll use Content
Aware, but when I click OK, you'll notice there's a little bit of a seam
here where the colors aren't blended very well. And that's because, in
the past, the Content Aware technology really focused on the texture in
the image. So let's undo that Command + Z or Ctrl + Z. And this time
when I select Edit, Fill, I'm going to use the new Color Adaptation
option. This time when I click OK, you can see that Photoshop does a
much better job in blending those colors. Now let's go ahead and try to
remove the other two cacti here that are blurred. So I'm going to go
ahead and just zoom in a bit, and you can see that we're going to have a
problem probably right in this area. So what I'll do is I'll just select
this area here because I know that I want this flower to be preserved,
right. So I will just drag a little selection around it. And then I'll
hold down the Shift key and I probably want to drag around this area
right here, and I'll also want to preserve this area here. Now what I
can do is I can just jump those up to their own layer using Command + J
so that now we've got just that area on its own layer. I want to make
sure that I go back, I drop down to the background layer, then I'll zoom
back out and then all use my Lasso Tool and I'll make kind of a general
more broad selection around this area here that I want to patch and then
switch over to the Patch Tool. Now I need to make sure that the Patch
Tool is set to Content Aware. And let's take a look at the Adaptation
Options. It used to be that we only had one option here. But now I can
change the structure, which is going to help blend the edges. Let's go
ahead and make that just one for now and I'll leave the color set to
zero as well. The great thing about these settings is that I can always
come back to them even after I use the Patch Tool in order to select a
different area of the image. So you can see that it's done a fairly good
job. It just has a little bit of a problem right down here. But let's
try changing some of these options. So if I change the Structure up to
3, for example, we can watch as it goes ahead and it recalculates that
area. And that's looking much better. Now I also am looking at the color
area here, and it just looks a little bit blotchy, so I'm gonna move the
Color up to 5. Now the Structure has a range from 1 to 5. But the Color
actually has a range from 0 to 10. So this is looking much better, it's
not as blotchy, but let's see what happens if we actually move it up to
10. I think now we can see that that background area is really blending
in a lot better, so I'll go ahead and deselect. So you can see how just
copying that little area up onto its own layer helps me to use these
Content Aware tools around edges of areas that are really busy. Okay,
let's move to this other image right here. Now not only do I want to
reposition this bird, but I actually have two layers in this document
and I want to take this bird and move it over into this background area
where you can see there's quite a difference between the blues. So let's
switch to the Content Aware Move Tool and I'll make a rough selection
here around the first egret and then I'll reposition that bird right
down to here. Let's go ahead and zoom in a little bit and pan over and
take a look at what we have. I'm gonna use Command + H or Ctrl + H in
order to hide those edges. And let's look at the different options. If I
move the Structure up to 5, you can see that the bird is actually
rendered a little bit better. But with the Color set down to 0, you can
see this mismatch between the background of the bird from the position
in the sky where it was to this area here. So let's move the Color also
to maybe 5. And it does a much better job blending. Now let's zoom out
again. This time, I'm going to select the bird over on the right-hand
side and I want to scoot it over. So we again, I'll use the Move Tool,
I'll drag it over and position it the way I want it. And then we can see
how good of a job it does at blending. So it's done a really nice job.
Let's go ahead and zoom in again. And one of the reasons it did such a
nice job, as you can see here, that my Color blending is set up to 5.
Again, I'll hide the edges here so we can make sure that we see that
seam using Command + H or Ctrl + H. And if the blending wasn't enough,
we could go ahead and move this to 10. That's just going to help the
seams a little
- >-
<1-hop>
>> What I want to show you in this video is something that is absolutely
amazing. It's a brand new feature in Adobe Photoshop Creative Cloud
called Perspective Warp. Now I have a photograph open. I didn't take
this photo. It was taken by a company called PhotoSpin. And don't forget
if you want to follow along, you can download the assets for this video.
What I want to do first though is make a copy of it. I'm going to drag
it down- this is one way to do it-make a copy. That is not necessary,
but this way we get to see kind of a before and an after. Now it will
work with just about any image, but your first test is to go up to the
word Edit on the pull-down menu and go down, and you better see
Perspective Warp. If you don't, no big deal. Just go out to the cloud,
and download the latest version of Photoshop. Now what does it do? What
does Perspective Warp do? It literally allows me to re-enter a
three-dimensional world to change the perspective of the image as if, as
the photographer, I change my position. Now we're going to do two
things. One is very easy. I'm going to straighten the buildings out. The
other part's more fun. Change the perspective. Now, we've got the tool
selected. You do this by building grids, perspective grids. So if I
click somewhere, you can see your first grid. We can get in the middle.
Let's talk about how this works. Get in the middle. Move it around as a
whole. Go to a pin, move the pins just like that. If I go to the side,
top, or bottom and drag, I can move it. But the trick is if you hold
down the shift key at the same time and move it, it changes the
perspective too. It can help you out. The other thing I do like is if
you select a pin, you can use your arrow keys to gently nudge it into
place or get on it, click it, delete it. Now we need two. We're working
with a three-dimensional item that's been compressed two dimensionally.
We need two planes on this, and we're going to use this right here as
our dividing line. Click and drag this time. Save you some time in
moving it around. I'm going to leave it right there. I'm going to come
up here and click this one and move it over. What I want to do is grab
and select that line. Now down here, I think I'll use my arrow keys. Do
you have to do this? Not really. But if you do, if you spend the time to
get these lines down right based on perspective of the image, it's going
to save you time later on. So I'm going to come over here and grab this
one. I'm going to drag it down. Now I can use these lines to match up
with these, and that's what I'm doing. Let's do this one down here too.
So what I'm trying to do here is just match those up. Let's come down
just a little bit more, just about like that. That doesn't look too bad.
Now we need the other side of our box, if you will. So if I click and
drag, I can make another one of these. Now here's the fun part. Grab it
right here, and drag it over. Don't hold the shift key. Just drag it
over until you see a blue line up here. Let go. Pin to pin, it will
match it. We can now do the other side. So what I'm going to do here is
bring that over and again, I can use these lines here against those
lines there. And I'm going to try to line that up as best I can, come
down to this one obviously and bring that one up just about like that.
Again, don't forget you can use your arrow keys if you want it precise.
That's not too bad. What I want to do is extend it out. So hold the
shift key before you drag it just like that. All right. Now we've got
the box built around the buildings or whatever the object is. Come over
here and click Warp. Now when we move the pins, it will change it. Now
since I took the time to get the angles and the first thing I want to do
maybe is straighten it out. That's going to be much easier. Click this
button right here and watch what happens. Well it begins to straighten
it out, but the pins are still independent. In other words, I can come
over to this one and still move it if I wanted to. if I don't like what
it did. I find most of the time that if I spend the time to get the
perspective, it does help things out. Now you have another one that does
your horizontals if you want to do that. We don't. This one does both.
This one says, "you know what? I so messed this up. I wish I could start
all over again." And if you click it, it will take you right back to
where you were. You say, "I want to redesign the whole thing," you can
click here. Go right back to Layout. Let's go back here, and let's click
that button again because that did work. Now that's easy. In fact you
might not even need Perspective Warp to straighten a building. What I
love about it is changing the perspective. Now if I come down to this
point right here and move it, these are still independent, and here's
the trick. Come over to this line, hold the shift key down until it
turns yellow, and then click on it. Now that does two things. If it
- source_sentence: >-
How can the ALT key be used as a shortcut when zooming with the Zoom tool
in Photoshop CC?
sentences:
- >-
<2-hop>
>> Removing distracting elements is easier than ever with the 2014
release of Photoshop CC. Not only has the Content Aware technology
improved in terms of quality, but the speed has also been improved
significantly. Let's go ahead take a look at a few examples. Now in this
image of the cactus, I'm going to select the Lasso Tool and I simply
want to get rid of this cactus here in the background. The easiest way
to do this would be to select Edit and then Fill. I'll use Content
Aware, but when I click OK, you'll notice there's a little bit of a seam
here where the colors aren't blended very well. And that's because, in
the past, the Content Aware technology really focused on the texture in
the image. So let's undo that Command + Z or Ctrl + Z. And this time
when I select Edit, Fill, I'm going to use the new Color Adaptation
option. This time when I click OK, you can see that Photoshop does a
much better job in blending those colors. Now let's go ahead and try to
remove the other two cacti here that are blurred. So I'm going to go
ahead and just zoom in a bit, and you can see that we're going to have a
problem probably right in this area. So what I'll do is I'll just select
this area here because I know that I want this flower to be preserved,
right. So I will just drag a little selection around it. And then I'll
hold down the Shift key and I probably want to drag around this area
right here, and I'll also want to preserve this area here. Now what I
can do is I can just jump those up to their own layer using Command + J
so that now we've got just that area on its own layer. I want to make
sure that I go back, I drop down to the background layer, then I'll zoom
back out and then all use my Lasso Tool and I'll make kind of a general
more broad selection around this area here that I want to patch and then
switch over to the Patch Tool. Now I need to make sure that the Patch
Tool is set to Content Aware. And let's take a look at the Adaptation
Options. It used to be that we only had one option here. But now I can
change the structure, which is going to help blend the edges. Let's go
ahead and make that just one for now and I'll leave the color set to
zero as well. The great thing about these settings is that I can always
come back to them even after I use the Patch Tool in order to select a
different area of the image. So you can see that it's done a fairly good
job. It just has a little bit of a problem right down here. But let's
try changing some of these options. So if I change the Structure up to
3, for example, we can watch as it goes ahead and it recalculates that
area. And that's looking much better. Now I also am looking at the color
area here, and it just looks a little bit blotchy, so I'm gonna move the
Color up to 5. Now the Structure has a range from 1 to 5. But the Color
actually has a range from 0 to 10. So this is looking much better, it's
not as blotchy, but let's see what happens if we actually move it up to
10. I think now we can see that that background area is really blending
in a lot better, so I'll go ahead and deselect. So you can see how just
copying that little area up onto its own layer helps me to use these
Content Aware tools around edges of areas that are really busy. Okay,
let's move to this other image right here. Now not only do I want to
reposition this bird, but I actually have two layers in this document
and I want to take this bird and move it over into this background area
where you can see there's quite a difference between the blues. So let's
switch to the Content Aware Move Tool and I'll make a rough selection
here around the first egret and then I'll reposition that bird right
down to here. Let's go ahead and zoom in a little bit and pan over and
take a look at what we have. I'm gonna use Command + H or Ctrl + H in
order to hide those edges. And let's look at the different options. If I
move the Structure up to 5, you can see that the bird is actually
rendered a little bit better. But with the Color set down to 0, you can
see this mismatch between the background of the bird from the position
in the sky where it was to this area here. So let's move the Color also
to maybe 5. And it does a much better job blending. Now let's zoom out
again. This time, I'm going to select the bird over on the right-hand
side and I want to scoot it over. So we again, I'll use the Move Tool,
I'll drag it over and position it the way I want it. And then we can see
how good of a job it does at blending. So it's done a really nice job.
Let's go ahead and zoom in again. And one of the reasons it did such a
nice job, as you can see here, that my Color blending is set up to 5.
Again, I'll hide the edges here so we can make sure that we see that
seam using Command + H or Ctrl + H. And if the blending wasn't enough,
we could go ahead and move this to 10. That's just going to help the
seams a little
- >-
<1-hop>
>> What I want to show you in this video is something that is absolutely
amazing. It's a brand new feature in Adobe Photoshop Creative Cloud
called Perspective Warp. Now I have a photograph open. I didn't take
this photo. It was taken by a company called PhotoSpin. And don't forget
if you want to follow along, you can download the assets for this video.
What I want to do first though is make a copy of it. I'm going to drag
it down- this is one way to do it-make a copy. That is not necessary,
but this way we get to see kind of a before and an after. Now it will
work with just about any image, but your first test is to go up to the
word Edit on the pull-down menu and go down, and you better see
Perspective Warp. If you don't, no big deal. Just go out to the cloud,
and download the latest version of Photoshop. Now what does it do? What
does Perspective Warp do? It literally allows me to re-enter a
three-dimensional world to change the perspective of the image as if, as
the photographer, I change my position. Now we're going to do two
things. One is very easy. I'm going to straighten the buildings out. The
other part's more fun. Change the perspective. Now, we've got the tool
selected. You do this by building grids, perspective grids. So if I
click somewhere, you can see your first grid. We can get in the middle.
Let's talk about how this works. Get in the middle. Move it around as a
whole. Go to a pin, move the pins just like that. If I go to the side,
top, or bottom and drag, I can move it. But the trick is if you hold
down the shift key at the same time and move it, it changes the
perspective too. It can help you out. The other thing I do like is if
you select a pin, you can use your arrow keys to gently nudge it into
place or get on it, click it, delete it. Now we need two. We're working
with a three-dimensional item that's been compressed two dimensionally.
We need two planes on this, and we're going to use this right here as
our dividing line. Click and drag this time. Save you some time in
moving it around. I'm going to leave it right there. I'm going to come
up here and click this one and move it over. What I want to do is grab
and select that line. Now down here, I think I'll use my arrow keys. Do
you have to do this? Not really. But if you do, if you spend the time to
get these lines down right based on perspective of the image, it's going
to save you time later on. So I'm going to come over here and grab this
one. I'm going to drag it down. Now I can use these lines to match up
with these, and that's what I'm doing. Let's do this one down here too.
So what I'm trying to do here is just match those up. Let's come down
just a little bit more, just about like that. That doesn't look too bad.
Now we need the other side of our box, if you will. So if I click and
drag, I can make another one of these. Now here's the fun part. Grab it
right here, and drag it over. Don't hold the shift key. Just drag it
over until you see a blue line up here. Let go. Pin to pin, it will
match it. We can now do the other side. So what I'm going to do here is
bring that over and again, I can use these lines here against those
lines there. And I'm going to try to line that up as best I can, come
down to this one obviously and bring that one up just about like that.
Again, don't forget you can use your arrow keys if you want it precise.
That's not too bad. What I want to do is extend it out. So hold the
shift key before you drag it just like that. All right. Now we've got
the box built around the buildings or whatever the object is. Come over
here and click Warp. Now when we move the pins, it will change it. Now
since I took the time to get the angles and the first thing I want to do
maybe is straighten it out. That's going to be much easier. Click this
button right here and watch what happens. Well it begins to straighten
it out, but the pins are still independent. In other words, I can come
over to this one and still move it if I wanted to. if I don't like what
it did. I find most of the time that if I spend the time to get the
perspective, it does help things out. Now you have another one that does
your horizontals if you want to do that. We don't. This one does both.
This one says, "you know what? I so messed this up. I wish I could start
all over again." And if you click it, it will take you right back to
where you were. You say, "I want to redesign the whole thing," you can
click here. Go right back to Layout. Let's go back here, and let's click
that button again because that did work. Now that's easy. In fact you
might not even need Perspective Warp to straighten a building. What I
love about it is changing the perspective. Now if I come down to this
point right here and move it, these are still independent, and here's
the trick. Come over to this line, hold the shift key down until it
turns yellow, and then click on it. Now that does two things. If it
- >-
Zooming and panning are ways to navigate around an image that you'll use
often as you work on images in Photoshop CC. To practice working with
the zoom and pan controls, open this image from the tutorial practice
files, or open a large image of your own. Zooming means changing the
magnification of the image, as you might do if you were looking at the
sky through a telescope. You may want to zoom in for a closer view of
part of an image, or you may want to zoom out to see more of an image on
your screen. The most straightforward way to zoom is to select the Zoom
tool, toward the bottom of the Tools panel here. Then go up to the
Options bar for the Zoom tool, where you'll find a plus icon for zooming
in, and a minus icon for zooming out. Let's start with the plus icon
activated which is the default. Then to zoom in, move into the image and
click. And each time you click, you'll zoom in a little further. To zoom
back out to see more of the image again, go back to the Options bar, and
this time select the minus icon, and then click several times in the
image to zoom back out. If you want to zoom in again, you have to go
back to the Options bar, click the plus icon, and click in the image to
zoom in again. Now you may get tired of going up to the Options bar
every time you want to switch between zooming in and zooming out. So,
here's a shortcut that will help you. When the zoom in option is active,
as it is now, you can switch to zooming out by holding the Option key on
your keyboard if you're on a Mac, or the ALT key on Windows. Hold down
that key and then click in the image. And that will automatically switch
you back to zooming out. Then release your finger from the Option or ALT
key, and you're switched back to zooming in. And so, you can click in
the image to zoom in again. The Zoom tool has a couple of options in its
Options bar, that you can use to move quickly to zoom levels that you
use often. The Fit Screen option, here in the Options bar, comes in
handy when you're zoomed in like this and you want to get back to a view
of the entire image. Just click the Fit Screen option, and the entire
image fits itself into your document window. Another useful option is
this 100% option. Clicking this, zooms you into 100% view of the image,
which is the best way to view an image when you're checking it for
sharpness. Now, I'm working on a small screen and this image is pretty
large, so when I zoom in to 100%, I can't see the whole image on my
screen. Although you may not experience the same thing if you're working
on a large monitor. So, if I want to see a different part of this image
at this zoom level, I'm going to need to move the image around in my
document window. That's called panning. And it's done with another tool,
the Hand tool. So, I'm going to go back to the Tools panel, and I'm
going to select the Hand tool there, which is just above the Zoom tool.
Then I'll move into the image, and notice that my cursor is now changed
to a hand icon. I'll click, drag, and move the image in the document
window, to a place that I want to see, and then I'll release my mouse.
When I'm done checking the sharpness here and I want to go back to view
the entire image on screen, I'll go up to the Options bar for the Hand
tool, and there I'll see the same Fit Screen option that we had for the
Zoom tool. So, I can just click Fit Screen in the Hand tool Options bar,
and that takes me back to see the entire image in my document window.
Let me show you another way to zoom. Instead of clicking, you can do
continuous zoom by holding your mouse down on the image. I'll go back
and get the Zoom tool in the Tools panel. And then I'm going to click
and hold in the image. And the image zooms in continuously. If you zoom
in really far like this, you can see the pixels, that are the building
blocks of an image in Photoshop CC. By the way, the size of these pixels
can affect the image quality of a print, which is why image resolution
is an important topic, especially for printing. Something we'll talk
more about when we cover resizing an image later in this series. I'm
going to go up to the Options bar and click Fit Screen, so I can see the
entire image on my screen again. One more thing, let's say that you're
working with another tool, maybe the Brush tool, and you're painting in
a small area and you don't want to switch out of the Brush tool over to
the Zoom tool just to zoom. Well, there's a shortcut that you can use
instead of the Zoom tool. And that is to hold the Command key on a Mac,
or the Ctrl key on a PC, as you press the plus key on your keyboard. And
every time you do that, that will zoom you in. If you want to zoom back
out, hold the Command key on a Mac or the Ctrl key on a PC, and press
the minus key on your keyboard. And that will zoom you back out. So,
that's an introduction to zooming and panning, that I hope will help you
to navigate your images as you're working on them in Photoshop CC. To
finish up with this lesson, you can
pipeline_tag: sentence-similarity
library_name: sentence-transformers
metrics:
- cosine_accuracy@1
- cosine_accuracy@3
- cosine_accuracy@5
- cosine_accuracy@10
- cosine_precision@1
- cosine_precision@3
- cosine_precision@5
- cosine_precision@10
- cosine_recall@1
- cosine_recall@3
- cosine_recall@5
- cosine_recall@10
- cosine_ndcg@10
- cosine_mrr@10
- cosine_map@100
model-index:
- name: SentenceTransformer based on intfloat/e5-small-v2
results:
- task:
type: information-retrieval
name: Information Retrieval
dataset:
name: Unknown
type: unknown
metrics:
- type: cosine_accuracy@1
value: 0.5
name: Cosine Accuracy@1
- type: cosine_accuracy@3
value: 0.9
name: Cosine Accuracy@3
- type: cosine_accuracy@5
value: 0.9
name: Cosine Accuracy@5
- type: cosine_accuracy@10
value: 1
name: Cosine Accuracy@10
- type: cosine_precision@1
value: 0.5
name: Cosine Precision@1
- type: cosine_precision@3
value: 0.33333333333333326
name: Cosine Precision@3
- type: cosine_precision@5
value: 0.2800000000000001
name: Cosine Precision@5
- type: cosine_precision@10
value: 0.15000000000000005
name: Cosine Precision@10
- type: cosine_recall@1
value: 0.3
name: Cosine Recall@1
- type: cosine_recall@3
value: 0.7
name: Cosine Recall@3
- type: cosine_recall@5
value: 0.9
name: Cosine Recall@5
- type: cosine_recall@10
value: 1
name: Cosine Recall@10
- type: cosine_ndcg@10
value: 0.7253178334712167
name: Cosine Ndcg@10
- type: cosine_mrr@10
value: 0.7
name: Cosine Mrr@10
- type: cosine_map@100
value: 0.5958333333333332
name: Cosine Map@100
SentenceTransformer based on intfloat/e5-small-v2
This is a sentence-transformers model finetuned from intfloat/e5-small-v2. It maps sentences & paragraphs to a 384-dimensional dense vector space and can be used for semantic textual similarity, semantic search, paraphrase mining, text classification, clustering, and more.
Model Details
Model Description
- Model Type: Sentence Transformer
- Base model: intfloat/e5-small-v2
- Maximum Sequence Length: 512 tokens
- Output Dimensionality: 384 dimensions
- Similarity Function: Cosine Similarity
Model Sources
- Documentation: Sentence Transformers Documentation
- Repository: Sentence Transformers on GitHub
- Hugging Face: Sentence Transformers on Hugging Face
Full Model Architecture
SentenceTransformer(
(0): Transformer({'max_seq_length': 512, 'do_lower_case': False}) with Transformer model: BertModel
(1): Pooling({'word_embedding_dimension': 384, 'pooling_mode_cls_token': False, 'pooling_mode_mean_tokens': True, 'pooling_mode_max_tokens': False, 'pooling_mode_mean_sqrt_len_tokens': False, 'pooling_mode_weightedmean_tokens': False, 'pooling_mode_lasttoken': False, 'include_prompt': True})
(2): Normalize()
)
Usage
Direct Usage (Sentence Transformers)
First install the Sentence Transformers library:
pip install -U sentence-transformers
Then you can load this model and run inference.
from sentence_transformers import SentenceTransformer
# Download from the 🤗 Hub
model = SentenceTransformer("mbudisic/e5-small-v2-20250519015557")
# Run inference
sentences = [
'How can the ALT key be used as a shortcut when zooming with the Zoom tool in Photoshop CC?',
"Zooming and panning are ways to navigate around an image that you'll use often as you work on images in Photoshop CC. To practice working with the zoom and pan controls, open this image from the tutorial practice files, or open a large image of your own. Zooming means changing the magnification of the image, as you might do if you were looking at the sky through a telescope. You may want to zoom in for a closer view of part of an image, or you may want to zoom out to see more of an image on your screen. The most straightforward way to zoom is to select the Zoom tool, toward the bottom of the Tools panel here. Then go up to the Options bar for the Zoom tool, where you'll find a plus icon for zooming in, and a minus icon for zooming out. Let's start with the plus icon activated which is the default. Then to zoom in, move into the image and click. And each time you click, you'll zoom in a little further. To zoom back out to see more of the image again, go back to the Options bar, and this time select the minus icon, and then click several times in the image to zoom back out. If you want to zoom in again, you have to go back to the Options bar, click the plus icon, and click in the image to zoom in again. Now you may get tired of going up to the Options bar every time you want to switch between zooming in and zooming out. So, here's a shortcut that will help you. When the zoom in option is active, as it is now, you can switch to zooming out by holding the Option key on your keyboard if you're on a Mac, or the ALT key on Windows. Hold down that key and then click in the image. And that will automatically switch you back to zooming out. Then release your finger from the Option or ALT key, and you're switched back to zooming in. And so, you can click in the image to zoom in again. The Zoom tool has a couple of options in its Options bar, that you can use to move quickly to zoom levels that you use often. The Fit Screen option, here in the Options bar, comes in handy when you're zoomed in like this and you want to get back to a view of the entire image. Just click the Fit Screen option, and the entire image fits itself into your document window. Another useful option is this 100% option. Clicking this, zooms you into 100% view of the image, which is the best way to view an image when you're checking it for sharpness. Now, I'm working on a small screen and this image is pretty large, so when I zoom in to 100%, I can't see the whole image on my screen. Although you may not experience the same thing if you're working on a large monitor. So, if I want to see a different part of this image at this zoom level, I'm going to need to move the image around in my document window. That's called panning. And it's done with another tool, the Hand tool. So, I'm going to go back to the Tools panel, and I'm going to select the Hand tool there, which is just above the Zoom tool. Then I'll move into the image, and notice that my cursor is now changed to a hand icon. I'll click, drag, and move the image in the document window, to a place that I want to see, and then I'll release my mouse. When I'm done checking the sharpness here and I want to go back to view the entire image on screen, I'll go up to the Options bar for the Hand tool, and there I'll see the same Fit Screen option that we had for the Zoom tool. So, I can just click Fit Screen in the Hand tool Options bar, and that takes me back to see the entire image in my document window. Let me show you another way to zoom. Instead of clicking, you can do continuous zoom by holding your mouse down on the image. I'll go back and get the Zoom tool in the Tools panel. And then I'm going to click and hold in the image. And the image zooms in continuously. If you zoom in really far like this, you can see the pixels, that are the building blocks of an image in Photoshop CC. By the way, the size of these pixels can affect the image quality of a print, which is why image resolution is an important topic, especially for printing. Something we'll talk more about when we cover resizing an image later in this series. I'm going to go up to the Options bar and click Fit Screen, so I can see the entire image on my screen again. One more thing, let's say that you're working with another tool, maybe the Brush tool, and you're painting in a small area and you don't want to switch out of the Brush tool over to the Zoom tool just to zoom. Well, there's a shortcut that you can use instead of the Zoom tool. And that is to hold the Command key on a Mac, or the Ctrl key on a PC, as you press the plus key on your keyboard. And every time you do that, that will zoom you in. If you want to zoom back out, hold the Command key on a Mac or the Ctrl key on a PC, and press the minus key on your keyboard. And that will zoom you back out. So, that's an introduction to zooming and panning, that I hope will help you to navigate your images as you're working on them in Photoshop CC. To finish up with this lesson, you can",
'<1-hop>\n\n>> What I want to show you in this video is something that is absolutely amazing. It\'s a brand new feature in Adobe Photoshop Creative Cloud called Perspective Warp. Now I have a photograph open. I didn\'t take this photo. It was taken by a company called PhotoSpin. And don\'t forget if you want to follow along, you can download the assets for this video. What I want to do first though is make a copy of it. I\'m going to drag it down- this is one way to do it-make a copy. That is not necessary, but this way we get to see kind of a before and an after. Now it will work with just about any image, but your first test is to go up to the word Edit on the pull-down menu and go down, and you better see Perspective Warp. If you don\'t, no big deal. Just go out to the cloud, and download the latest version of Photoshop. Now what does it do? What does Perspective Warp do? It literally allows me to re-enter a three-dimensional world to change the perspective of the image as if, as the photographer, I change my position. Now we\'re going to do two things. One is very easy. I\'m going to straighten the buildings out. The other part\'s more fun. Change the perspective. Now, we\'ve got the tool selected. You do this by building grids, perspective grids. So if I click somewhere, you can see your first grid. We can get in the middle. Let\'s talk about how this works. Get in the middle. Move it around as a whole. Go to a pin, move the pins just like that. If I go to the side, top, or bottom and drag, I can move it. But the trick is if you hold down the shift key at the same time and move it, it changes the perspective too. It can help you out. The other thing I do like is if you select a pin, you can use your arrow keys to gently nudge it into place or get on it, click it, delete it. Now we need two. We\'re working with a three-dimensional item that\'s been compressed two dimensionally. We need two planes on this, and we\'re going to use this right here as our dividing line. Click and drag this time. Save you some time in moving it around. I\'m going to leave it right there. I\'m going to come up here and click this one and move it over. What I want to do is grab and select that line. Now down here, I think I\'ll use my arrow keys. Do you have to do this? Not really. But if you do, if you spend the time to get these lines down right based on perspective of the image, it\'s going to save you time later on. So I\'m going to come over here and grab this one. I\'m going to drag it down. Now I can use these lines to match up with these, and that\'s what I\'m doing. Let\'s do this one down here too. So what I\'m trying to do here is just match those up. Let\'s come down just a little bit more, just about like that. That doesn\'t look too bad. Now we need the other side of our box, if you will. So if I click and drag, I can make another one of these. Now here\'s the fun part. Grab it right here, and drag it over. Don\'t hold the shift key. Just drag it over until you see a blue line up here. Let go. Pin to pin, it will match it. We can now do the other side. So what I\'m going to do here is bring that over and again, I can use these lines here against those lines there. And I\'m going to try to line that up as best I can, come down to this one obviously and bring that one up just about like that. Again, don\'t forget you can use your arrow keys if you want it precise. That\'s not too bad. What I want to do is extend it out. So hold the shift key before you drag it just like that. All right. Now we\'ve got the box built around the buildings or whatever the object is. Come over here and click Warp. Now when we move the pins, it will change it. Now since I took the time to get the angles and the first thing I want to do maybe is straighten it out. That\'s going to be much easier. Click this button right here and watch what happens. Well it begins to straighten it out, but the pins are still independent. In other words, I can come over to this one and still move it if I wanted to. if I don\'t like what it did. I find most of the time that if I spend the time to get the perspective, it does help things out. Now you have another one that does your horizontals if you want to do that. We don\'t. This one does both. This one says, "you know what? I so messed this up. I wish I could start all over again." And if you click it, it will take you right back to where you were. You say, "I want to redesign the whole thing," you can click here. Go right back to Layout. Let\'s go back here, and let\'s click that button again because that did work. Now that\'s easy. In fact you might not even need Perspective Warp to straighten a building. What I love about it is changing the perspective. Now if I come down to this point right here and move it, these are still independent, and here\'s the trick. Come over to this line, hold the shift key down until it turns yellow, and then click on it. Now that does two things. If it',
]
embeddings = model.encode(sentences)
print(embeddings.shape)
# [3, 384]
# Get the similarity scores for the embeddings
similarities = model.similarity(embeddings, embeddings)
print(similarities.shape)
# [3, 3]
Evaluation
Metrics
Information Retrieval
- Evaluated with
InformationRetrievalEvaluator
| Metric | Value |
|---|---|
| cosine_accuracy@1 | 0.5 |
| cosine_accuracy@3 | 0.9 |
| cosine_accuracy@5 | 0.9 |
| cosine_accuracy@10 | 1.0 |
| cosine_precision@1 | 0.5 |
| cosine_precision@3 | 0.3333 |
| cosine_precision@5 | 0.28 |
| cosine_precision@10 | 0.15 |
| cosine_recall@1 | 0.3 |
| cosine_recall@3 | 0.7 |
| cosine_recall@5 | 0.9 |
| cosine_recall@10 | 1.0 |
| cosine_ndcg@10 | 0.7253 |
| cosine_mrr@10 | 0.7 |
| cosine_map@100 | 0.5958 |
Training Details
Training Dataset
Unnamed Dataset
- Size: 90 training samples
- Columns:
sentence_0andsentence_1 - Approximate statistics based on the first 90 samples:
sentence_0 sentence_1 type string string details - min: 5 tokens
- mean: 34.76 tokens
- max: 56 tokens
- min: 49 tokens
- mean: 374.26 tokens
- max: 512 tokens
- Samples:
sentence_0 sentence_1 who andy andersonwasn't perfectly vertical, it is now, but the other part is in Perspective, watch this. If I come down here and move this point left or right, it locks the top one in and allows me to literally change the perspective where the photograph was taken. And if you look closely, it's not just stretching the stuff out. it's working with complex algorithms to decide what it would have looked like if the photographer had changed positions. That's why I like this thing so much. It gives you total control over what you're doing. Now you can even change it by foreshortening it, whatever you want to do to change what you think this image will be and understand we're not talking about a formula where it's got to be 27 degrees because of this, that, or the other. We're talking about you. You are the photographer. You are the designer. What looks good to you? Now let's say you like that. You can set it by clicking right here or you can say, "I wish I'd never done anything," and click here to get out o...wut is Adobee Photoshoop Cretive Cloud?>> What I want to show you in this video is something that is absolutely amazing. It's a brand new feature in Adobe Photoshop Creative Cloud called Perspective Warp. Now I have a photograph open. I didn't take this photo. It was taken by a company called PhotoSpin. And don't forget if you want to follow along, you can download the assets for this video. What I want to do first though is make a copy of it. I'm going to drag it down- this is one way to do it-make a copy. That is not necessary, but this way we get to see kind of a before and an after. Now it will work with just about any image, but your first test is to go up to the word Edit on the pull-down menu and go down, and you better see Perspective Warp. If you don't, no big deal. Just go out to the cloud, and download the latest version of Photoshop. Now what does it do? What does Perspective Warp do? It literally allows me to re-enter a three-dimensional world to change the perspective of the image as if, as the photographer, I...How can the ALT key be used as a shortcut when zooming with the Zoom tool in Photoshop CC?Zooming and panning are ways to navigate around an image that you'll use often as you work on images in Photoshop CC. To practice working with the zoom and pan controls, open this image from the tutorial practice files, or open a large image of your own. Zooming means changing the magnification of the image, as you might do if you were looking at the sky through a telescope. You may want to zoom in for a closer view of part of an image, or you may want to zoom out to see more of an image on your screen. The most straightforward way to zoom is to select the Zoom tool, toward the bottom of the Tools panel here. Then go up to the Options bar for the Zoom tool, where you'll find a plus icon for zooming in, and a minus icon for zooming out. Let's start with the plus icon activated which is the default. Then to zoom in, move into the image and click. And each time you click, you'll zoom in a little further. To zoom back out to see more of the image again, go back to the Options bar, and this... - Loss:
MatryoshkaLosswith these parameters:{ "loss": "MultipleNegativesRankingLoss", "matryoshka_dims": [ 384, 256, 128, 64 ], "matryoshka_weights": [ 1, 1, 1, 1 ], "n_dims_per_step": -1 }
Training Hyperparameters
Non-Default Hyperparameters
eval_strategy: stepsper_device_train_batch_size: 10per_device_eval_batch_size: 10num_train_epochs: 2multi_dataset_batch_sampler: round_robin
All Hyperparameters
Click to expand
overwrite_output_dir: Falsedo_predict: Falseeval_strategy: stepsprediction_loss_only: Trueper_device_train_batch_size: 10per_device_eval_batch_size: 10per_gpu_train_batch_size: Noneper_gpu_eval_batch_size: Nonegradient_accumulation_steps: 1eval_accumulation_steps: Nonetorch_empty_cache_steps: Nonelearning_rate: 5e-05weight_decay: 0.0adam_beta1: 0.9adam_beta2: 0.999adam_epsilon: 1e-08max_grad_norm: 1num_train_epochs: 2max_steps: -1lr_scheduler_type: linearlr_scheduler_kwargs: {}warmup_ratio: 0.0warmup_steps: 0log_level: passivelog_level_replica: warninglog_on_each_node: Truelogging_nan_inf_filter: Truesave_safetensors: Truesave_on_each_node: Falsesave_only_model: Falserestore_callback_states_from_checkpoint: Falseno_cuda: Falseuse_cpu: Falseuse_mps_device: Falseseed: 42data_seed: Nonejit_mode_eval: Falseuse_ipex: Falsebf16: Falsefp16: Falsefp16_opt_level: O1half_precision_backend: autobf16_full_eval: Falsefp16_full_eval: Falsetf32: Nonelocal_rank: 0ddp_backend: Nonetpu_num_cores: Nonetpu_metrics_debug: Falsedebug: []dataloader_drop_last: Falsedataloader_num_workers: 0dataloader_prefetch_factor: Nonepast_index: -1disable_tqdm: Falseremove_unused_columns: Truelabel_names: Noneload_best_model_at_end: Falseignore_data_skip: Falsefsdp: []fsdp_min_num_params: 0fsdp_config: {'min_num_params': 0, 'xla': False, 'xla_fsdp_v2': False, 'xla_fsdp_grad_ckpt': False}tp_size: 0fsdp_transformer_layer_cls_to_wrap: Noneaccelerator_config: {'split_batches': False, 'dispatch_batches': None, 'even_batches': True, 'use_seedable_sampler': True, 'non_blocking': False, 'gradient_accumulation_kwargs': None}deepspeed: Nonelabel_smoothing_factor: 0.0optim: adamw_torchoptim_args: Noneadafactor: Falsegroup_by_length: Falselength_column_name: lengthddp_find_unused_parameters: Noneddp_bucket_cap_mb: Noneddp_broadcast_buffers: Falsedataloader_pin_memory: Truedataloader_persistent_workers: Falseskip_memory_metrics: Trueuse_legacy_prediction_loop: Falsepush_to_hub: Falseresume_from_checkpoint: Nonehub_model_id: Nonehub_strategy: every_savehub_private_repo: Nonehub_always_push: Falsegradient_checkpointing: Falsegradient_checkpointing_kwargs: Noneinclude_inputs_for_metrics: Falseinclude_for_metrics: []eval_do_concat_batches: Truefp16_backend: autopush_to_hub_model_id: Nonepush_to_hub_organization: Nonemp_parameters:auto_find_batch_size: Falsefull_determinism: Falsetorchdynamo: Noneray_scope: lastddp_timeout: 1800torch_compile: Falsetorch_compile_backend: Nonetorch_compile_mode: Noneinclude_tokens_per_second: Falseinclude_num_input_tokens_seen: Falseneftune_noise_alpha: Noneoptim_target_modules: Nonebatch_eval_metrics: Falseeval_on_start: Falseuse_liger_kernel: Falseeval_use_gather_object: Falseaverage_tokens_across_devices: Falseprompts: Nonebatch_sampler: batch_samplermulti_dataset_batch_sampler: round_robin
Training Logs
| Epoch | Step | cosine_ndcg@10 |
|---|---|---|
| 1.0 | 9 | 0.7270 |
| 2.0 | 18 | 0.7253 |
Framework Versions
- Python: 3.11.11
- Sentence Transformers: 4.1.0
- Transformers: 4.51.3
- PyTorch: 2.7.0+cu126
- Accelerate: 1.7.0
- Datasets: 3.6.0
- Tokenizers: 0.21.1
Citation
BibTeX
Sentence Transformers
@inproceedings{reimers-2019-sentence-bert,
title = "Sentence-BERT: Sentence Embeddings using Siamese BERT-Networks",
author = "Reimers, Nils and Gurevych, Iryna",
booktitle = "Proceedings of the 2019 Conference on Empirical Methods in Natural Language Processing",
month = "11",
year = "2019",
publisher = "Association for Computational Linguistics",
url = "https://arxiv.org/abs/1908.10084",
}
MatryoshkaLoss
@misc{kusupati2024matryoshka,
title={Matryoshka Representation Learning},
author={Aditya Kusupati and Gantavya Bhatt and Aniket Rege and Matthew Wallingford and Aditya Sinha and Vivek Ramanujan and William Howard-Snyder and Kaifeng Chen and Sham Kakade and Prateek Jain and Ali Farhadi},
year={2024},
eprint={2205.13147},
archivePrefix={arXiv},
primaryClass={cs.LG}
}
MultipleNegativesRankingLoss
@misc{henderson2017efficient,
title={Efficient Natural Language Response Suggestion for Smart Reply},
author={Matthew Henderson and Rami Al-Rfou and Brian Strope and Yun-hsuan Sung and Laszlo Lukacs and Ruiqi Guo and Sanjiv Kumar and Balint Miklos and Ray Kurzweil},
year={2017},
eprint={1705.00652},
archivePrefix={arXiv},
primaryClass={cs.CL}
}