e5-small-v2-20250519015557 / README.md

Add new SentenceTransformer model

d624928 verified 4 months ago

88.5 kB

	---
	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: 1.0
	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: 1.0
	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](https://www.SBERT.net) model finetuned from [intfloat/e5-small-v2](https://huggingface.co/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](https://huggingface.co/intfloat/e5-small-v2) <!-- at revision ffb93f3bd4047442299a41ebb6fa998a38507c52 -->
	- Maximum Sequence Length: 512 tokens
	- Output Dimensionality: 384 dimensions
	- Similarity Function: Cosine Similarity
	<!-- - Training Dataset: Unknown -->
	<!-- - Language: Unknown -->
	<!-- - License: Unknown -->

	### Model Sources

	- Documentation: [Sentence Transformers Documentation](https://sbert.net)
	- Repository: [Sentence Transformers on GitHub](https://github.com/UKPLab/sentence-transformers)
	- Hugging Face: [Sentence Transformers on Hugging Face](https://huggingface.co/models?library=sentence-transformers)

	### 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:

	```bash
	pip install -U sentence-transformers
	```

	Then you can load this model and run inference.
	```python
	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]
	```

	<!--
	### Direct Usage (Transformers)

	<details><summary>Click to see the direct usage in Transformers</summary>

	</details>
	-->

	<!--
	### Downstream Usage (Sentence Transformers)

	You can finetune this model on your own dataset.

	<details><summary>Click to expand</summary>

	</details>
	-->

	<!--
	### Out-of-Scope Use

	List how the model may foreseeably be misused and address what users ought not to do with the model.
	-->

	## Evaluation

	### Metrics

	#### Information Retrieval

	* Evaluated with [<code>InformationRetrievalEvaluator</code>](https://sbert.net/docs/package_reference/sentence_transformer/evaluation.html#sentence_transformers.evaluation.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 \|

	<!--
	## Bias, Risks and Limitations

	What are the known or foreseeable issues stemming from this model? You could also flag here known failure cases or weaknesses of the model.
	-->

	<!--
	### Recommendations

	What are recommendations with respect to the foreseeable issues? For example, filtering explicit content.
	-->

	## Training Details

	### Training Dataset

	#### Unnamed Dataset

	* Size: 90 training samples
	* Columns: <code>sentence_0</code> and <code>sentence_1</code>
	* Approximate statistics based on the first 90 samples:
	\| \| sentence_0 \| sentence_1 \|
	\|:--------\|:----------------------------------------------------------------------------------\|:-------------------------------------------------------------------------------------\|
	\| type \| string \| string \|
	\| details \| <ul><li>min: 5 tokens</li><li>mean: 34.76 tokens</li><li>max: 56 tokens</li></ul> \| <ul><li>min: 49 tokens</li><li>mean: 374.26 tokens</li><li>max: 512 tokens</li></ul> \|
	* Samples:
	\| sentence_0 \| sentence_1 \|
	\|:--------------------------------------------------------------------------------------------------------\|:---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------\|
	\| <code>who andy anderson</code> \| <code>wasn'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...</code> \|
	\| <code>wut is Adobee Photoshoop Cretive Cloud?</code> \| <code>>> 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...</code> \|
	\| <code>How can the ALT key be used as a shortcut when zooming with the Zoom tool in Photoshop CC?</code> \| <code>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...</code> \|
	* Loss: [<code>MatryoshkaLoss</code>](https://sbert.net/docs/package_reference/sentence_transformer/losses.html#matryoshkaloss) with these parameters:
	```json
	{
	"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`: steps
	- `per_device_train_batch_size`: 10
	- `per_device_eval_batch_size`: 10
	- `num_train_epochs`: 2
	- `multi_dataset_batch_sampler`: round_robin

	#### All Hyperparameters
	<details><summary>Click to expand</summary>

	- `overwrite_output_dir`: False
	- `do_predict`: False
	- `eval_strategy`: steps
	- `prediction_loss_only`: True
	- `per_device_train_batch_size`: 10
	- `per_device_eval_batch_size`: 10
	- `per_gpu_train_batch_size`: None
	- `per_gpu_eval_batch_size`: None
	- `gradient_accumulation_steps`: 1
	- `eval_accumulation_steps`: None
	- `torch_empty_cache_steps`: None
	- `learning_rate`: 5e-05
	- `weight_decay`: 0.0
	- `adam_beta1`: 0.9
	- `adam_beta2`: 0.999
	- `adam_epsilon`: 1e-08
	- `max_grad_norm`: 1
	- `num_train_epochs`: 2
	- `max_steps`: -1
	- `lr_scheduler_type`: linear
	- `lr_scheduler_kwargs`: {}
	- `warmup_ratio`: 0.0
	- `warmup_steps`: 0
	- `log_level`: passive
	- `log_level_replica`: warning
	- `log_on_each_node`: True
	- `logging_nan_inf_filter`: True
	- `save_safetensors`: True
	- `save_on_each_node`: False
	- `save_only_model`: False
	- `restore_callback_states_from_checkpoint`: False
	- `no_cuda`: False
	- `use_cpu`: False
	- `use_mps_device`: False
	- `seed`: 42
	- `data_seed`: None
	- `jit_mode_eval`: False
	- `use_ipex`: False
	- `bf16`: False
	- `fp16`: False
	- `fp16_opt_level`: O1
	- `half_precision_backend`: auto
	- `bf16_full_eval`: False
	- `fp16_full_eval`: False
	- `tf32`: None
	- `local_rank`: 0
	- `ddp_backend`: None
	- `tpu_num_cores`: None
	- `tpu_metrics_debug`: False
	- `debug`: []
	- `dataloader_drop_last`: False
	- `dataloader_num_workers`: 0
	- `dataloader_prefetch_factor`: None
	- `past_index`: -1
	- `disable_tqdm`: False
	- `remove_unused_columns`: True
	- `label_names`: None
	- `load_best_model_at_end`: False
	- `ignore_data_skip`: False
	- `fsdp`: []
	- `fsdp_min_num_params`: 0
	- `fsdp_config`: {'min_num_params': 0, 'xla': False, 'xla_fsdp_v2': False, 'xla_fsdp_grad_ckpt': False}
	- `tp_size`: 0
	- `fsdp_transformer_layer_cls_to_wrap`: None
	- `accelerator_config`: {'split_batches': False, 'dispatch_batches': None, 'even_batches': True, 'use_seedable_sampler': True, 'non_blocking': False, 'gradient_accumulation_kwargs': None}
	- `deepspeed`: None
	- `label_smoothing_factor`: 0.0
	- `optim`: adamw_torch
	- `optim_args`: None
	- `adafactor`: False
	- `group_by_length`: False
	- `length_column_name`: length
	- `ddp_find_unused_parameters`: None
	- `ddp_bucket_cap_mb`: None
	- `ddp_broadcast_buffers`: False
	- `dataloader_pin_memory`: True
	- `dataloader_persistent_workers`: False
	- `skip_memory_metrics`: True
	- `use_legacy_prediction_loop`: False
	- `push_to_hub`: False
	- `resume_from_checkpoint`: None
	- `hub_model_id`: None
	- `hub_strategy`: every_save
	- `hub_private_repo`: None
	- `hub_always_push`: False
	- `gradient_checkpointing`: False
	- `gradient_checkpointing_kwargs`: None
	- `include_inputs_for_metrics`: False
	- `include_for_metrics`: []
	- `eval_do_concat_batches`: True
	- `fp16_backend`: auto
	- `push_to_hub_model_id`: None
	- `push_to_hub_organization`: None
	- `mp_parameters`:
	- `auto_find_batch_size`: False
	- `full_determinism`: False
	- `torchdynamo`: None
	- `ray_scope`: last
	- `ddp_timeout`: 1800
	- `torch_compile`: False
	- `torch_compile_backend`: None
	- `torch_compile_mode`: None
	- `include_tokens_per_second`: False
	- `include_num_input_tokens_seen`: False
	- `neftune_noise_alpha`: None
	- `optim_target_modules`: None
	- `batch_eval_metrics`: False
	- `eval_on_start`: False
	- `use_liger_kernel`: False
	- `eval_use_gather_object`: False
	- `average_tokens_across_devices`: False
	- `prompts`: None
	- `batch_sampler`: batch_sampler
	- `multi_dataset_batch_sampler`: round_robin

	</details>

	### 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
	```bibtex
	@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
	```bibtex
	@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
	```bibtex
	@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}
	}
	```

	<!--
	## Glossary

	Clearly define terms in order to be accessible across audiences.
	-->

	<!--
	## Model Card Authors

	Lists the people who create the model card, providing recognition and accountability for the detailed work that goes into its construction.
	-->

	<!--
	## Model Card Contact

	Provides a way for people who have updates to the Model Card, suggestions, or questions, to contact the Model Card authors.
	-->