Colorize vs. Hue

Anyone who’s played with the separate functions of Colorize and Hue has, no doubt, seen that there’s a distinct difference, meaning there may be a reason to choose one over the other. Basically, Hue changes colors individually, while Colorize changes everything into a single color. Since a picture is worth a thousand words…


Original Graphic

Hue slider (still a color array, but they’ve all changed except for the center gray):

Hue slider

Colorize (now it’s all one color, including the center gray):




Hue (colors have changed, but not the grays and blacks):

Photo hue

Colorize (it’s now monochrome–there are no neutrals):

Photo colorized

Is one choice better than the other? Absolutely not. The Hue slider is often the better choice for graphics, but Colorize is usually better for photos. Using Colorize, for example, you can turn a modern, full-color photo into a sepia-tinted old photo. Using the Hue slider on a photo is likely to create something odd (orange eyes, perhaps?) unless you’re going for modern art. However, did you notice what Colorize did to the graphic? It wiped out every color except for red. Even the gray was turned red. Gray is the color of shadows, and so if you have a graphic that contains shading, stick with the Hue slider.

Published in: on December 8, 2013 at 4:53 pm  Comments Off  
Tags: , , , ,

Captions Beneath Layers in ProShow Producer – Easy!

To place a caption beneath an image layer, we’re told to create the caption on a transparent background in an image editor and then save it as a PNG file. There’s another way, and it’s easy:

1. In a blank slide type your caption in any font and color. If it’s a dark color, set the background to white. Otherwise, keep the default black background.

2. Close the Options screen, and with your caption showing in the main preview , right-click the preview, choose Capture Frame, give it a name, browse to a folder where you want to save the capture, and click ‘Ok’.

3. Add your newly minted caption layer to the slide you created it for, placing the caption beneath whatever image you like.

4. With the caption layer selected and in the Adjustments tab, click the Chroma Key button.

5. If the caption is on a white background, change the default black ‘Key Color’ to white, and then use these settings: Intensity Threshold = 10% and Intensity Drop Off = 35%.

6. Click ‘Done.’

That’s it. Now you can treat your caption in all the same ways you would any other image, using pan, zoom, tilt, rotate, etc.

Published in: on October 17, 2013 at 2:26 pm  Comments Off  
Tags: , ,

Any Number You Want

No matter how it looks, you aren’t limited to default settings in ProShow. Here’s the truth:

ZOOM – Sometimes a setting such as 103 is too small while 104 is too large. No problem. Type in a decimal such as 103.5, and you’ll have just what you need. If you leave the slide and then go back to it, you’ll find that the number has been rounded off, but don’t be fooled. Beneath the hood, your decimal number is still there.

ROTATION – Do you want an object to spin like a top? You probably already know you can go from -360 degrees to +360 degrees, (two full rotations), but you can also make it spin from -720 degrees to +720 degrees or from -980 degrees to +980 degrees or from whatever to whatever you like.

TILT – What holds true for rotation also holds true for tilt, but in this case, instead of spinning clockwise or counterclockwise, the object will appear spin on a vertical axis like a weather vane.

FONT POINT SIZE – Don’t believe for one minute that the largest you can go is up to 120 points. Type in any point size you want…any. If 56 is too small and 72 is too large, type in 60 or 63 or whatever suits.

All you need remember is that, if there’s a box where you can enter a number, you’re free to enter any number you want.

Published in: on September 1, 2013 at 2:34 pm  Comments Off  
Tags: , ,

ProShow Speed Demons

I recently helped someone get a cutout of Mickey Mouse to go from the right side of the screen to the left side of the screen in lockstep with a second layer, both Mickey and the other layer starting and finishing at the same time. As easy as this may seem in concept, it’s actually the root cause of baldness, particularly with PNG files where we don’t easily see the problem. The illustration below represents two layers, one a small red square, one a larger green square, and dashes showing distance:

Notice there’s more distance between the edge of the red square and the edge of the screen than there is for the green square. Someone has a longer distance to travel–namely the red square.

Trying to get differently sized images like these squares to travel in sync across the screen is a nightmare…

One-third of the way across

Two-thirds of the way across

Awful, isn’t it? They’re each marching to a different drummer.

So, let’s say we have a small red square in one layer and a large green square in a second layer, and we want the left edges of each to be in perfect alignment as they travel from right to left. In the illustration below, notice the vertical dashed line, which represents a guideline. It was derived from butting up the green square to the right side, then drawing a line so it coincided with the left side of the square. The red square was then moved so its left side was also against the dashed line:

For this example and in an image editor, I made the dimensions of the green square’s file 1600 pixels by 900 pixels, which is a 16:9 ratio, and then moved the square to the extreme right edge. Then I dragged the red square into the same file so I had 2 layers. Using a guideline (which I forgot to show here, but which is just like the dashed line above), I placed it on the left edge of the large square and then moved the small square up next to that same guideline. Once that was done, I saved each layer as a separate PNG file. The images ended up looking like this:

With these 2 files, the rest was a piece of cake. In ProShow, I added the two files to a slide and moved the layers so the left sides of the squares were lined up on the left side of the screen just barely out of sight, making sure both layers had identical horizontal pan settings. I then sent both layers over to -100. They traveled as if joined at the hip. Job done, hair still on head.

Here are the results:

One-third of the way across

Two-thirds of the way across

Published in: on November 20, 2011 at 1:00 pm  Comments (2)  
Tags: , ,

The ProShow joys of Paste Into

Have you ever created a gradient in one slide that you’d love repeating in several other slides? Here’s how:

Add a blank slide immediately following the one with the gradient.

  1. Highlight the layer with the gradient, and use Copy End to Next Slide to place the gradient in the blank slide.
  2. Select the gradient slide and press Control+C to copy it.
  3. Right-click slide 8 and choose Paste Into. Do the same with slides 15, 20, and 32.

The results are the same as when using the copy screen–the gradient will land in the top layer, and just as with the copy screen, you’ll move the gradient down to where you want it.

These directions take as long as the Copy screen, but it’s nice to have alternatives. I use Paste Into when developing styles, sometimes isolating a masking setup in its own slide so that whenever I need to repeat it, I can use Paste Into and bypass both the Copy screen and even the Options screen.

Published in: on September 9, 2011 at 9:53 am  Comments Off  
Tags: , , ,

Get every new post delivered to your Inbox.

Join 550 other followers