 Hello, Fuller Nerds. Welcome back to another YouTube tutorial. Today is part 2 in our series where we talk about Google Knit Collection and how to use the control points in each of the series. In the past video, we talked about using control points in the color effects filters, but today we're going to talk about using control points in the analog effects filters. So we've already got an image up here inside of Lightroom. This is going to be our subject for the day, and we're going to start by jumping into analog effects. So to do that, we're going to go to Photo, Edit in, and go to Analog Effects. Now you'll notice that I have two versions here. Analog Effects Pro 2 is the one that you want. That's the newest version. If you don't have that, make sure you go to Google and reinstall this. So I'm going to go here, and it's going to ask me, do I want to bring with it any Lightroom adjustments? I'm just going to say yes. Now while that goal goes ahead and opens up, it's important that I mention I don't use this filter very much. Analog Effects isn't really my style, and the reason for that is that this is mainly geared towards film photography. And since I don't do a lot of film photography, and I don't want my pictures to look like they were done with film, I don't find myself using this version very much. There's other filters within this collection that I'd much rather use. But if that's something that you think you might like, or you just want to get in here and play, then knock yourself out. There's a ton of things you can do in here, but we're going to focus on the control points today and show you exactly what they do. And it's very similar to how they work in some of the other filters. So if we get familiar now, you'll see some repetition in some of the other filters in this series and some of the other videos that we're going to do in this series. So I'm going to start by opening this puppy up. And as is the case with all of the Nick filters, it basically breaks down to three parts, the left side, the middle side and the right side. So we're going to start on the left side. The left side is where we're going to choose the filters that we want to apply to this picture. So we're going to go up to the top here where it says cameras and click on it. And if you were to click on the little arrow next to classic camera, you'd get these tool combinations. And this is where you can kind of get lost in here, because there's so many different things that you can apply. But we're just going to stick with the classic camera for now. But if there's other things you wanted to play with, like black and white or motion or whatever, go ahead and drive yourself crazy. I'm going to just stick with classic camera. And when I do, you're going to notice that there are several different presets that come with this, nine in particular. And so you can use this as a starting point as to what you want your picture to look like. Now I've already kind of toyed around with some of these. So I'm going to just go with maybe camera classic six. No, camera classic three, we're going to start with camera classic three. That looks pretty good. And when we do, it's going to apply all of these different filters to the photograph. So if we navigate now from the left hand side, over to the right hand side, you'll see exactly what it is I'm talking about. What it did was it added basic adjustments, some dirt and scratches, a lens vignette and some film type. And collectively, what that did is it made the picture look like this to this. So this was before. And this is after not drastically different, but different. Now here's where the magic happens. If we go underneath the basic adjustments here, you'll notice that it applied four things, detail extractor, brightness, contrast, saturation, and anything that you do in here is going to affect the photograph globally, which means the entire picture is going to see changes. But this is where the control points allow you to manipulate exactly where the where the adjustments are going to be applied. Think of it as a layer mask inside a Photoshop. If you don't know what a layer mask is inside a Photoshop. It's what gives you the ability to control your adjustment. In other words, instead of having the adjustment on the entire photograph, maybe you just want the adjustment on a particular thing like a flower, or maybe you want it on a particular color or a particular shade, something like that. Basically, you can be very specific about your adjustment and where it's being applied. This is a really, really powerful thing. Now, before I show you the control points, I'm going to just show you one little quick tip that I think is pretty fun, because a lot of us lack the creative vision to kind of see where we want to take this picture. So they've built in a button that I think you might find really handy, and it's called the very button. If we click on vary, you'll see the photo change. Every time you click vary, you'll see the photo change. And what it's doing is it's changing the settings up in those four options at the top. And it's giving you different recipes, so to speak. And you can just keep clicking through them until you find something that you might like, and then you can kind of go from there. If you decided that you wanted to go back, maybe there was a very that you liked back and you've now passed it up, you can go back to the left hand side under the history panel, and you'll see in history, all of the different varies that you've tried. And so you can just click on each very until you get to the one that you think you wanted or the one that that you thought looked really cool. And you could say, All right, this is the one that's going to be my starting point. And then we can go back over to the right hand side, where we have those adjustments and those control points. And one last thing before we jump in to the control points, if you wanted to turn off, say the dirt and scratches, all you have to do is uncheck this box, and it will take the dirt and scratches off of the picture. It will remove it from from this recipe. Same thing with the lens vignette. If you wanted that gone, you just uncheck the box. Now let's dive into these control points and show you why these things are so cool. So if we open up the control point panel, you'll see that you can add a control point. And below that, you're going to see four little switches or buttons. And basically, these work like this, you can group your control points, you can ungroup your control points, you can delete your control points, and you can also duplicate your control points as well. We're going to talk about each one of them. But first, before you can use any of those, you at least need to start with one control point. So we're going to click on this button here, add a control point, and then we're going to go over to the picture and decide where we want to apply it. Now the thing that I think jumps out to me in this particular photograph is all that green mossy stuff on the rocks. I think that was really cool. And I kind of want to enhance that a little bit. So what I'm going to do is click on any part of the photo that has some of that green moss on it. Now here's the most epic thing about using control points in Nick filters. What you can do is you can actually see this as a layer mask the same way you would inside a Photoshop. But the difference is that this here in Nick filters is way more controlled than you would have inside of Photoshop. You can get controlled masks, but they're way more difficult to achieve if you're a novice or a beginner in Photoshop. So this makes it very, very easy to get a similar effect. To do that, all you're going to do is where it says control point. You'll see this little icon that looks exactly like the mask icon in Photoshop. And there's a check box here. If we click the check box, it will turn on the mask feature. So now we're looking at the photograph as a layer mask. And if we were to go over to the pin and move it around, you'll notice how the mask actually changes and it just becomes again a very, very detailed mask. And to put this simply, anything that's white will you'll be able to see the adjustments. Anything that's black, you will not see any adjustments. So as long as you know that, just look at the photograph and say anything that's white is going to see changes. So is what I want white? If the answer is yes, then the control points fine. If it's not, then you might need to move it around until you get the desired look. Another thing that you can do once you get close, like right here looks pretty good, is you can change the radius of this. So if I click and drag on this top slider here, you'll actually see how this gets a little bit more restricted or the area in which we can use these pins gets a little bit more restricted. Once I have that dialed in, I can go back over to that checkbox, turn it off. That will bring my picture back. And now from here I can manipulate any of these sliders that I wanted to. So if I wanted to add a little bit of detail, this is the same as clarity inside of Lightroom. But instead of applying clarity to the whole photograph, now we're doing it in a very detailed manner. So we can pull this up and get some more detail there. Then maybe we can brighten or darken down that moss, add a little bit of contrast and bump up the saturation. So we've made some changes to that mask. If I turn this on, you can see what it's done. But as I've said before, you can also duplicate, group and ungroup these points. So let me just show you real quickly what that looks like. So this pin right here is pretty much concentrating on the center or lower center of this picture. But the left hand side and the right hand side is being left alone. So if I go over here to this little button here and click to duplicate the pin, it will duplicate the pin for me. And so now you'll see that I have actually two pins here. And I can move this one over to the right hand side of the picture. And I'm just looking to see what's being affected here. And I'm trying to do a good job of just affecting the moss, maybe something like that. I can even pull the radius down just a little bit. And then I'm going to duplicate this pin one more time to put on the left hand side of the photo. And again, I'm kind of just looking for some of that mossy goodness and something like that looks pretty good. The other beautiful thing about this is when you duplicate the control points, all of the settings that were on the first pin are exactly the same on the other pins. So whatever I set my contrast or brightness or detail extractor to, that's going to stay the same. But because these pins are independent, I could go over say to this pin on the far left and say, Hey, I'm going to turn that mask off. Actually, I'm going to turn all these masks off. I'm going to go over to the pin on the left hand side and say, you know what? Maybe I want that to be a little bit brighter than the other pins. And maybe I want there to be a little bit more contrast than the other two pins. So that side can be independent than the other two pins that I've made. But what about that grouping feature? If we click and drag, we can select both of those pins, the one in the middle and the one on the right hand side, leaving the left alone. And we can go over to our group button. And basically what it does is it turns two pins into one. And the reason for this is that what if I want to make adjustments to the middle and the right hand side of this picture simultaneously? In other words, I want to increase the brightness, but I don't want to have to increase it on the middle pin and then go over to the right hand side pin. I just want to do it at the same time. Well, if you group them together, then any adjustments that I make to the one pin now, because two became one, any adjustments that I make will happen simultaneously to both areas. So if I bring this up, you'll see how now the middle and the right hand side are seeing changes, whether I darken it or increase the brightness, whatever I do. So that's really cool. If you decide at some point that you don't want these to be grouped anymore, that's where the ungrouping will come into play. So the last thing I want to say about the masking that I think is really important is you can look at these independently. So in this example, I have three pins, a left, a middle and a right. And so if I want to see what one pin is doing, whether it's the middle or the left or the right, I can turn that mask on by checking the appropriate box and it'll just show me the mask there. But if I want to see the mask in a group, so to speak, then I can turn on the middle and the right or the left and the right or the middle and the left. You get the point. You can turn these on however you want to to kind of see them. And so the last and final thing that I'll talk about is these control points. They don't only live in the basic adjustments. If you start to do some digging, you'll see that these control points do pop up in other areas. If I open up film type, you'll notice that there are no control points here. If I go in the lens vignette, you'll notice there are no control points there. But if I go into the dirt and scratches area, you will see that there are control points here. And the control points here work exactly the same as they do on the other areas. The only difference is that these control points are controlling the dirt and scratches section. So if I were to add a control point in here, let's say I wanted to drop a control point up here in the rocks, for example, then what I end up having is the texture strength. When we were in the basics panel, we could adjust the detail, contrast, saturation, brightness. Because we're using a control point for the scratches and the dirt, we only get a texture strength option. And that allows us to control how strong or not the texture is. But everything else about the control point is exactly the same, whether it's copying, grouping, masking. In other words, if I go over here and click on the mask, I can see exactly what this dirt and scratch is being applied to. So there's a lot of white there. So I can, I know that all the dirt and scratches is being applied to that white area up there. One last thing. If you're not following us on Facebook, Twitter, Instagram, Snapchat, you can find us all there at PhotonerdsUnite. Thank you so much for watching. My name is Adam. I'm out.