IntroductionWelcome| 00:04 | My name is Rich Harrington and welcome to
Photoshop for Video Editors Core Skills.
| | 00:05 | In this course, we're going to explore
the essential skills needed when using
| | 00:09 | Adobe Photoshop, to create
graphics for use in a video edit.
| | 00:13 | This course will also be applicable,
if you work in motion graphics with
| | 00:16 | applications like Adobe After Effects.
| | 00:19 | Now, my background with Photoshop
and video graphics goes way back.
| | 00:23 | The very first book I ever wrote was
called Photoshop for Nonlinear Editors.
| | 00:27 | And that book tackled a lot of the core
information we're going to look at today.
| | 00:31 | However, things have continued to change
with Photoshop with the introduction of
| | 00:35 | non-square pixels, support for working
with video files natively, as well as a
| | 00:40 | wealth of other features
that really extend its toolset.
| | 00:43 | Photoshop is absolutely an
essential tool for creating video graphics.
| | 00:47 | In this course, I want to demystify
a lot of the tough things like, total
| | 00:52 | resolution that you need, template sizes,
what type of graphics you need, how to
| | 00:57 | work with text, alpha channels, non-
square pixels, a whole wide range of things.
| | 01:02 | I have also thrown in a lot of design
concepts as well, to really help you add some
| | 01:05 | sizzle to your piece.
| | 01:07 | So, we have a lot to explore.
| | 01:09 | Let's jump in.
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| What you should know before watching this course| 00:00 | This course is going take a look at Adobe
Photoshop, from the point of view of a video editor.
| | 00:05 | Now, if you've opened up Photoshop
before, you'll feel very comfortable in this
| | 00:08 | class, but even if you're a total
beginner, we will take things from the top and
| | 00:12 | take a look at a lot of the core skills
and basic operations that you're going
| | 00:16 | to need to use to get the job done.
| | 00:18 | If you're an advanced user, don't worry as well.
| | 00:20 | There are lots of advanced techniques that
we'll take a look at and we'll get the job done.
| | 00:25 | So, no matter where you're at,
there's lots of knowledge to be had.
| | 00:28 | Now, if you'd like to explore Photoshop
more in-depth, there's tons of training
| | 00:31 | available here on lynda.com
that you could take a look at.
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| Using the exercise files| 00:00 | If your lynda.com membership includes
them, you'll find a collection of exercise
| | 00:04 | files, to really bring the lessons to life.
| | 00:06 | However, you can use any of your own
images as well to complete the lesson.
| | 00:10 | These are just provided to make it
easier for you to explore all the techniques
| | 00:14 | and really get your hands on them.
| | 00:16 | Now, when you're done, I just ask that
you go ahead and discard these files as
| | 00:20 | many of them contain footage or
stills from real-world projects.
| | 00:24 | You have the rights to use these for
educational purposes, but you may not use
| | 00:27 | them for any of your productions or
anything that's made available for sale or
| | 00:31 | posting to the internet.
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1. Pixels DemystifiedUnderstanding resolution| 00:00 | When it comes to video graphics, a lot of
folks get confused in the area of resolution.
| | 00:05 | You'll hear the term PPI
or DPI thrown out there.
| | 00:09 | DPI is, "Dots Per Inch" and
that's really a printing term.
| | 00:12 | PPI is, "Pixels Per Inch" and that's much
more relevant when discussing computer graphics.
| | 00:18 | However, in terms of video,
none of it is relevant.
| | 00:21 | You see, the same size video graphic can
be displayed on multiple sizes of screens.
| | 00:26 | So, I could take that 720p graphic or
video file and put it on a television set
| | 00:32 | that's huge in my living room.
| | 00:34 | Put it on an iPad and look at it on that screen.
| | 00:36 | Shrink it down to a mobile phone on the
Android operating system or even play it
| | 00:41 | back in a movie theater.
| | 00:43 | You see, it's the same number of pixels.
| | 00:46 | When dealing with video, you
have fixed resolution formats.
| | 00:49 | Meaning that, we measure
them in total pixel count.
| | 00:53 | Let's take a look at some files and
see how this really comes to life.
| | 00:57 | In this particular image here, I have a
lot of pixels to work with, more than I
| | 01:01 | need for a video file.
| | 01:02 | If choose Image, Image size, I could see
the pixel count and it's right now 1343x895.
| | 01:09 | Now, that's too low for use in 1080p,
but more than enough, for using the 720p
| | 01:15 | HD format and plenty for
standard definition work flows as well.
| | 01:20 | Let's zoom in here.
| | 01:21 | This particular image is a Mosaic, meaning
that small tiles make a larger image.
| | 01:28 | If you look closely there, you could
see a sort of the silhouette of a dog as
| | 01:31 | well as a busy field.
| | 01:33 | Let's start to zoom in and you notice
here, that's a 100% and as we keep going
| | 01:38 | in, the image will start to be pixelate.
| | 01:40 | That's because these individual
areas are really squares of light.
| | 01:46 | The white lines show you
the border on each pixel.
| | 01:50 | Now, I could bring up the Navigator
Panel and this makes it easier to see the
| | 01:53 | whole image and notice by dragging, I
could zoom in or out and use this red box
| | 02:00 | to move around the image.
| | 02:02 | Each square is one pixel value.
| | 02:05 | If you take the Eyedropper tool and you
click, you'll see that the colors update
| | 02:10 | over in the color mixer, so you can
actually see what that square is doing.
| | 02:15 | However, when put together, those
individual pixels comprise an image and as you
| | 02:20 | zoom out, it starts to take shape.
| | 02:23 | This is a pretty straightforward concept,
but what I'd like to show you is how
| | 02:27 | it works with the same image
sized for different workflows.
| | 02:31 | Let's switch over to Adobe Bridge and
I have the same image prepped for both
| | 02:36 | standard definition and HD.
| | 02:38 | You'll notice here that
we have the 720p version.
| | 02:43 | Let's adjust this here, 1280x720,
here's the HD1 1920x1080, the two common
| | 02:52 | HD sizes and then we have the standard
definition, in this case, 720x480 and 720x480.
| | 03:01 | However, they display differently.
| | 03:03 | This is because of pixel aspect ratio,
which is a topic, we'll explore more
| | 03:07 | in an upcoming movie.
| | 03:09 | But essentially, it means that pixels
are not square or a one-to-one ratio.
| | 03:14 | Therefore, the numbers may not
actually represent how the image displays.
| | 03:18 | While both of these images are 720x480, they
will display in size differently on the screen.
| | 03:25 | Let's go ahead and open these up and
I'll press CTRL+R for the rulers and
| | 03:31 | right-click and switch to pixels.
| | 03:33 | So, this one is 720x480
and this one is also 720x480.
| | 03:40 | However, one is a 4x3 aspect
ratio and the other is 16x9.
| | 03:46 | Both of these graphics
could work in a DVD slideshow.
| | 03:49 | The 16x9 aspect ratio is more commonly
used these days, even when dealing with
| | 03:54 | standard definition video for a DVD.
| | 03:56 | For the 1080 graphic, you'll notice
here that it's 1920x1080 and the 720
| | 04:01 | graphic is 1280x720.
| | 04:05 | You can always check this by going Image,
Image Size and it will bring up the dialog box.
| | 04:11 | What I want you to realize is
that resolution does not matter.
| | 04:15 | So, if I uncheck the Resample Image box and I
change the Resolution per inch. Let's say to 200.
| | 04:22 | You'll notice that the print size would
change, but the total pixel dimensions
| | 04:26 | has not changed, meaning that the
file still has the same display size.
| | 04:33 |
| | 04:33 | So, changing the resolution field, that
describes the pixels per inch, will have
| | 04:37 | no impact on the video because video
graphics are measured in total pixels.
| | 04:43 | Again, 1920x1080, for the HD version here,
changing the resolution has no impact
| | 04:52 | on the width or height,
when we uncheck "resample image".
| | 04:57 | Clicking OK, you'll notice that
the document does not change sizes.
| | 05:01 | A nice shortcut is to Alt or
Option click down here, and you can
| | 05:05 | quickly check the specs for a file,
seeing the width and height, as well as the
| | 05:09 | channel information, which we'll talk
about in the second and the resolution
| | 05:13 | setting, which can be
ignored for video graphics.
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| Understanding pixel aspect ratio| 00:00 | The Pixel Aspect Ratio or PAR,
describes the relationship between the width
| | 00:04 | and the height of the pixel.
| | 00:07 | When working with computer-generated
graphics, it's very common to work with
| | 00:10 | square pixels and the same holds true when
shooting on a DSLR or another digital camera.
| | 00:15 | However, video cameras, particularly pro
-video cameras, will often shoot with a
| | 00:20 | non-square Pixel Aspect Ratio.
| | 00:23 | Now, the exact pixel aspect ratio will
often vary by format, ranging from 1.5 to
| | 00:29 | 0.9 and this will go ahead and
reinterpret how the video displays.
| | 00:35 | Now, this will particularly come
into play when working with a standard
| | 00:38 | definition sources, although
many HD files have the same issue.
| | 00:43 | As a general rule of thumb, I will
design my HD graphics using square pixels and
| | 00:48 | my video graphics for standard
definition using non-square pixels.
| | 00:53 | Fortunately, most editing tools and
motion graphics applications make this a bit
| | 00:57 | easier, but I'd like to get the issue
out of the way, so you know how to work
| | 01:02 | with a non-square source.
| | 01:04 | I have a couple of video files here
and I'm going to open these directly
| | 01:07 | into Adobe Photoshop.
| | 01:09 | Now, I'm working with Photoshop CS6 in this
case, which can open up video files on its own.
| | 01:13 | If you're using an earlier version
of Photoshop, you will need Photoshop
| | 01:16 | extended, which is included with the
"Master Collection" and "Production
| | 01:20 | Premium Collection."
| | 01:22 | That opens up and you'll see, that
it's telling us, that a Pixel Aspect
| | 01:26 | Ratio has been assigned.
| | 01:28 | Now, let's take a look at what's happening.
| | 01:30 | In this particular case, this file is
720x480 and if I go under the View menu,
| | 01:36 | for Pixel Aspect Ratio, I
can see what's been assigned.
| | 01:41 | Now, in this case, this is a standard
definition file that was used on a traditional DVD.
| | 01:47 | It has the wide screen pixel
aspect ratio of 1.21 assigned.
| | 01:52 | Earlier versions might have referred
to this as 1.2 and it's a very small
| | 01:56 | difference, but Photoshop updated its
Pixel Aspect Ratios recently, to make
| | 02:01 | things display a little bit more accurately.
| | 02:04 | Now, as I change the Pixel Aspect
Ratio, you'll notice that it starts to
| | 02:08 | look very different.
| | 02:11 | It's important that you get the
right Pixel Aspect Ratio chosen for the
| | 02:15 | format that was shot.
| | 02:16 | So, you may need to do some research or
go back to the Director of Photography
| | 02:20 | or the Videographer and
ask them about their footage.
| | 02:24 | This now looks correct and if I flip
over here to the other clip, I could check
| | 02:29 | its pixel aspect ratio and this is not square.
| | 02:32 | In fact, it should be widescreen.
| | 02:37 | Now, it looks okay.
| | 02:40 | Now, if you want to toggle that off
and on, you could just choose View, Pixel
| | 02:44 | Aspect Ratio Correction and that will adjust.
| | 02:48 | Turning it off shows you the maximum
image quality in Photoshop, but it will
| | 02:52 | make a distorted image.
| | 02:54 | Normally, the video file is distorted.
| | 02:57 | However, it gets stretched when
it's played back on the television.
| | 03:00 | Things like the DVD player, the
tape deck, all of those will compensate
| | 03:06 | and convert non-square pixels back to a
square pixel shape for display on a screen.
| | 03:11 | However, when working in Photoshop or
other motion graphic and video editing
| | 03:15 | tools, Pixel Aspect Ratio Preview is
helpful because it avoids giving you a
| | 03:20 | distorted image while you
work on the computer monitor.
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| Understanding image mode| 00:00 | Because Photoshop is an application
designed for many workflows, ranging from
| | 00:04 | print to medical, scientific to
forensics and even architecture;
| | 00:09 | it supports a lot of different image modes.
| | 00:12 | That's because different workflows
like printing, display, medical imaging,
| | 00:17 | require unique color spaces.
| | 00:20 | Now, when creating graphics for
video, you want to convert them to RGB.
| | 00:24 | The good news is, is that this is the
format that most digital cameras shoot.
| | 00:28 | However, it's quite possible that the
format gets changed when working in Photoshop.
| | 00:33 | I always recommend that you check it.
| | 00:35 | The RGB color space has the widest
gamut of most of the commonly used spaces
| | 00:40 | and it's the best one for color
correcting, if you'd like a workflow that's
| | 00:43 | similar to digital video. Okay.
| | 00:46 | I've got these images here and as I select
them, you'll notice I could see the image mode.
| | 00:50 | This one is RGB.
| | 00:52 | This one is CMYK and this one is RGB.
| | 00:55 | Now, you might notice things like sRGB,
US Web-coated, et cetera and that is
| | 01:01 | the color profile.
| | 01:02 | Image mode and color
profiles are totally different.
| | 01:05 | Color profiles attempt to assign and
simulate specific devices, like printers,
| | 01:11 | on the computer screen.
| | 01:12 | This is often referred to as, "Color
management" and it's not that commonly used in video.
| | 01:17 | Although we're starting to see it more
and more with things like lookup tables,
| | 01:21 | as well as hardware calibrated
devices, like the HP dream color display.
| | 01:25 | Now, as we take a look at this, I'm
going to make sure that I focus on
| | 01:29 | the actual image mode.
| | 01:30 | Color management, for the color profiles,
can often be ignored or even turned off.
| | 01:34 | Let's open up these images and you'll
see across the top here, it tells you the
| | 01:38 | image mode: "RGB, CMYK and RGB."
| | 01:43 | So, it's important that I switch this over.
| | 01:47 | If I take a look at some of the tools
here, you'll notice that the CMYK has the
| | 01:51 | cyan, magenta, yellow and black channels,
but when I go ahead and switch that to
| | 01:57 | RGB, the channels will update to
just the red, green, blue details.
| | 02:04 | A large presence of white indicates a
high intensity of that particular color.
| | 02:09 | So, in this case, the white areas
indicate a lot of red, while the darker areas
| | 02:14 | indicate very little red.
| | 02:15 | If we take a look at the green channels
here, you'll see that there's a higher
| | 02:19 | value of green mixed in and that those
colors combined, are forming the green
| | 02:24 | peppers versus the red peppers back
here that just have a high presence of red
| | 02:29 | and not much blue or green.
| | 02:31 | Remember, most colors are component.
| | 02:34 | They're mixing different RGB
values together to simulate this.
| | 02:38 | If you remember back to some of the
days of color theory or light, "ROYGBIV,"
| | 02:43 | the rainbow? Red, green and blue are
the major components when you split white
| | 02:47 | light with the prism, and that's what
we're talking about here, the concept of
| | 02:51 | additive color theory.
| | 02:53 | CMYK, on the other hand, is a subtractive
model that's traditionally used for print.
| | 02:57 | For video graphics, RGB is the closest you
can get, to working with the video color space.
| | 03:03 | Now, if I do have color management turned
on, I might want to take a look at that.
| | 03:08 | I can go ahead and turn off my color
management settings, right here and this is
| | 03:14 | showing me that the North America
General Purpose is what's used by default.
| | 03:18 | Now, RGB has a sRGB space assigned and
you'll notice that you could actually
| | 03:22 | have other ones that you put in here.
| | 03:24 | If you're using a hardware calibrated
monitor or a device like a color monkey
| | 03:28 | or a spider, you might be able to more
accurately profile your computer monitor for display.
| | 03:34 | Otherwise, you'll stick with
these general options here.
| | 03:37 | If necessary, you can turn off preview,
so it doesn't simulate this and this
| | 03:42 | is essentially turning off color management,
so it won't attempt to simulate it on screen.
| | 03:47 | I often do that there because
I don't find it that useful.
| | 03:50 | I'll go ahead and click OK and I can
now work with the individual images.
| | 03:55 | Now, I highly recommend that you
check the mode of your images and if
| | 03:59 | necessary, you can even batch automate your
images to convert them to all the RGB color space.
| | 04:06 | This is important as it's what most video
editing and motion graphics tools will expect.
| | 04:11 | If you feed in a CMYK or other color
mode, you can get major problems with the
| | 04:15 | files leading to crashes, instability
or unusual color or exposure shifts.
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| Understanding bit depth| 00:00 | Besides resolution and image mode,
there's a third way to describe the amount of
| | 00:04 | information in a file
and that's the "bit depth."
| | 00:08 | The bit depth is a way of describing
how much information is in each channel.
| | 00:12 | So, for example here, I have the same
images 8, 16 and 32-bits per channel.
| | 00:18 | Let's open those up and take a quick look.
| | 00:20 | You'll notice that the
file sizes are very different.
| | 00:22 | Essentially, each is virtually
double the previous. If I open that up,
| | 00:30 | let's start with the eight-bit
version and begin to zoom in.
| | 00:36 | Now, it's going to be very
difficult for you to see the difference in
| | 00:39 | these files and that's because as
we're working on a computer display, it
| | 00:43 | can typically show eight or maybe 10-bit
color, if you have a very accurate monitor.
| | 00:49 | However, 16-bits per channel can be
used for a lot of motion graphics workflows
| | 00:55 | and there are outputs such as film or
tasks like color grading, where the extra
| | 01:00 | information comes in handy.
| | 01:02 | So for example, let's add a curves
adjustment here and start to lift.
| | 01:07 | You see that it starts to posterize out and
we start to really lose our details quickly.
| | 01:13 | The 16-bit image, on the
other hand, has more information.
| | 01:17 | So, as I start to make that curves
adjustment, it holds information longer
| | 01:22 | and you see a lot more flexibility, in the
image itself, before you start to lose detail.
| | 01:26 | Of course the ultimate here is a 32-
bit image and in this case, we can't use
| | 01:33 | curves, but I can make an exposure adjustment.
| | 01:36 | Notice, how the exposure behaves much
more like a traditional camera or the
| | 01:41 | human eye, giving you tremendous
latitude as you make adjustments.
| | 01:46 | Now, we are starting to see
these in a couple of workflows.
| | 01:50 | You could generate a 32-bit image
using things like 3D software or computer
| | 01:55 | graphic programs like, "After Effects."
| | 01:56 | So, if you're rendering your material
from scratch, 32-bits per channel will
| | 02:00 | give you a lot of flexibility, particularly
for tasks like color correction or compositing.
| | 02:06 | If you want to do it with stills,
you could do that by merging multiple
| | 02:10 | exposures together,
which we're going to do next.
| | 02:12 | There are some video cameras beginning
to do this, particularly things like the
| | 02:17 | red workflow, where it shoots two
streams and it merges those together into a
| | 02:21 | high dynamic range video file.
| | 02:24 | Now, this is the future and in some
ways, it's kind of the present, but it's
| | 02:28 | just starting to emerge.
| | 02:30 | These files are huge, very heavy
processing time and I only recommend them for
| | 02:35 | a couple of particular workflows, where you
need to do extreme adjustments to the exposure.
| | 02:40 | Let's go ahead and take a look at how
to create a 32-bit image and make sure
| | 02:44 | that we understand the total
goals here for the bits per channel.
| | 02:50 | I'll switch over to
bridge and I have an HDR image.
| | 02:55 | In this case, I shot four
exposures of the same scene for a raw file.
| | 03:01 | I can now choose Tools,
Photoshop, Merge to HDR Pro.
| | 03:07 | This will go ahead and bring
the images in and combine them.
| | 03:13 | The benefit here is that you can use a
wider dynamic range that more closely
| | 03:17 | simulates what the eye can see.
| | 03:19 | So, I can go ahead and expose properly
for the highlights, as well as see the
| | 03:23 | shadowy areas that would often become murky.
| | 03:26 | These images have been combined and
you see that we have a wide range here,
| | 03:30 | going from over to underexposed and I
can go ahead and use useful presets here,
| | 03:37 | go with the normal Photorealistic in
this case and I can adjust the exposure,
| | 03:43 | the gamma, there we go.
| | 03:49 | Let's put some detail in there and I
can start to lift the shadowy areas and
| | 03:58 | recover some of the highlights.
| | 04:01 | As I make exposure adjustments, I will
want to fill in some of the vibrance and
| | 04:04 | saturation and let's zoom in for a second here.
| | 04:07 | You'll notice some softness and
that's because the ropes and the nets were
| | 04:12 | blowing in the wind.
| | 04:13 | However, I could choose the Remove
Ghost option and it will clean up the HDR
| | 04:18 | file and remove some of that
ghosting, caused by objects blowing.
| | 04:22 | Remember, these exposures were shot
rapidly back-to-back in Burst mode on a
| | 04:27 | still camera, but even still, with the high
wind that day, it did create some ghosting.
| | 04:32 | All right, that looks pretty good.
| | 04:33 | I'm going to just jump over to the
Curve here, and do a little lift in the
| | 04:37 | Midtones, pull the shadows down
and the highlights down, zoom on out.
| | 04:43 | It's looking pretty good.
| | 04:47 | Let's go ahead and finish that out,
just back the color off a bit.
| | 04:56 | Smooth out the edges just a little
bit, and let's finesse that curve.
| | 05:01 | Okay, that looks good, I can click
OK and the new HDR image is generated.
| | 05:08 | This makes a true HDR file and now
you could take advantage of things like
| | 05:13 | exposure, to go ahead and dial in the
exact exposure you want, letting you
| | 05:18 | see more of the areas.
| | 05:20 | You can also do selective adjustments
with tools like Select Color Range which
| | 05:25 | will allow you to go ahead and grab the
Highlights or the Midtones and then make
| | 05:33 | a small adjustment just to those areas.
| | 05:35 | All right, it looks pretty
good and I'll call that done.
| | 05:41 | Now remember, 16-bits per channel, is
normally going to be plenty of information
| | 05:46 | for working with the video file.
| | 05:49 | As you shoot on a DSLR camera, you
can absolutely shoot raw photos and then
| | 05:54 | process them at 16-bits per
channel inside of Photoshop.
| | 05:57 | Now, if you're going to be creating
graphics, 16-bits per channel, is usually
| | 06:01 | plenty of information.
| | 06:03 | You can go ahead and shoot raw on a
DSLR and that will give you plenty of bit
| | 06:06 | depth as you develop those images.
| | 06:09 | Additionally, if you're creating new
graphics, like lower thirds or titles,
| | 06:12 | 16-bits per channel is plenty,
both for Photoshop and After Effects.
| | 06:17 | The only time to really get in to HDR
is, either for really advanced video
| | 06:20 | workflows or if you need a wider
dynamic range for tough exposures, like
| | 06:25 | sunrise, sunset or murky shadowy
areas that lack a lot of lighting.
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2. Preparing a PhotoCreating a new Photoshop file to match your sequence settings| 00:00 | When you create a new Photoshop file,
it's important that the file matches
| | 00:04 | your target sequence.
| | 00:06 | Now, there's a couple of ways of doing this.
| | 00:08 | First off, in Photoshop, you
can create a new document.
| | 00:11 | I'll go ahead and choose File>New and from
the Preset list, I could choose Film & Video.
| | 00:18 | This allows me to then specify a
target size and you'll find Presets for
| | 00:22 | Standard Definition, HD sizes, and Film sizes.
| | 00:27 | For example, there are square Pixel
Presets or Non-Square Presets, for things
| | 00:34 | like DVCPRO and you'll see that
the Pixel Aspect Ratio has changed.
| | 00:39 | When I click OK, a new document is
created and if Pixel Aspect Ratio is used,
| | 00:44 | you will get a warning, just telling
you that it's going to be in use and it
| | 00:48 | might soften the image just a little bit.
| | 00:51 | Now that softening is not permanent,
it's just the display quality on
| | 00:54 | the monitor itself.
| | 00:55 | I've also got these guides here to
help me understand things like, Safe Title
| | 00:59 | Area, so I could place my text inside
the innermost box to have margin or bleed
| | 01:04 | at the edges, to make it easier
to see everything on the screen.
| | 01:08 | Now, this works just fine and you can
continue to create New documents this way
| | 01:13 | that actually go ahead and
match your delivery format.
| | 01:17 | Remember, if you're working in HD,
even if you're using a non-square sequence
| | 01:21 | file, you might want to stick with
Square Pixel Presets, that's because the
| | 01:26 | non-linear editing tool can go ahead
and dynamically adjust, if needed to go
| | 01:31 | ahead and size the image correctly.
| | 01:33 | It's better to throw some information
away than it is to blow the image up. Okay.
| | 01:38 | I want to show you one other workflow.
| | 01:40 | In Premiere Pro, I can go ahead
and open up a sequence and choose
| | 01:45 | File>New>Photoshop File and it
correctly plugs in the sequence settings for the
| | 01:52 | width and height, as well
as the Pixel Aspect Ratio.
| | 01:55 | Clicking OK, will let me go ahead and
create the file, opens it in Photoshop and
| | 02:04 | when I close and save it, I can now
switch back to Premiere and when I
| | 02:10 | double-click it, you see it's been
added to the project and it updates.
| | 02:14 | If I have the DVCPRO sequence open and I
create a New Photoshop File, you'll see
| | 02:21 | that it plugs in the Pixel
Aspect Ratio and Dimensions.
| | 02:24 | Clicking OK will send me over to Photoshop.
| | 02:27 | Let's just go ahead and make some quick changes.
| | 02:33 | Let's go ahead and close and save that
and back in Premiere Pro, the graphic
| | 02:40 | comes in and there it is.
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| The Power Place technique| 00:00 | One of my favorite techniques for
prepping an image is to place the unsized
| | 00:04 | photo inside the properly sized video document.
| | 00:08 | In other words, create a new
document using a preset and then add your
| | 00:12 | source files into it.
| | 00:14 | Here's how it works.
| | 00:15 | I'll choose File>New, and choose the
Film & Video Preset and then grab the
| | 00:21 | size document I need.
| | 00:22 | I can now click OK and simply choose File>Place.
| | 00:27 | I can now select an image and click Place.
| | 00:32 | Now in this case, it's a Raw file, so
the Raw dialog opens up and we'll talk
| | 00:37 | more about Raw in a little bit.
| | 00:39 | Let's consider that good for now and
click OK, and you'll see that the image is
| | 00:44 | automatically scaled down to fit.
| | 00:48 | Holding down the Alt+Option Key+Shift
will scale evenly from the middle and
| | 00:55 | constrain proportions.
| | 00:57 | So now I can adjust the framing.
| | 00:59 | In this case, I'll move this down
just a little bit and maybe pin that over
| | 01:05 | and go a little larger.
| | 01:06 | All right, that looks good to me and
I can click Enter or click the Commit
| | 01:12 | button in the Options bar.
| | 01:14 | Now, in this case, you'll notice that
the layer has the Smart Object icon,
| | 01:18 | indicating that the full photo has
been embedded into the layer itself.
| | 01:23 | This means that in the future you have
flexibility and you can size the image
| | 01:27 | down or size it as large as you
need all the way up to the original
| | 01:33 | resolution of the photo with no
loss in quality, and that's because the
| | 01:38 | photo, the full photo, in this case,
the Raw image is embedded inside the
| | 01:44 | layer as a Smart Object.
| | 01:46 | Double-clicking in fact, will even go
back to the Camera Raw dialog for this
| | 01:50 | particular image and
allow me to refine this image.
| | 01:54 | In this case, adding some clarity and
saturation and clicking OK will force the
| | 02:00 | image to update and the
changes propagate through.
| | 02:03 | So that technique is really simple.
| | 02:05 | Just make a New document, sized for
your target format, choose File>Place, and
| | 02:12 | navigate to the image you want, use
the Camera Raw dialog, if you're working
| | 02:18 | with the Raw file, to process the
image as needed and then click OK.
| | 02:26 | It'll automatically be scaled to fit,
holding Shift+Alt or Shift+Option, will
| | 02:32 | let you scale the image from the center,
position it within the frame as you'd
| | 02:37 | like and then click the Commit button
or press Return or Enter to apply it.
| | 02:43 | That's the Power Place technique and
it's one of the easiest ways to size your
| | 02:46 | photos for use in a Video Editing Tool.
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| Adjusting a raw file| 00:00 | I'll let you know a secret, you want Raw files.
| | 00:03 | If you're shooting on a DSLR camera
or you're speaking directly to the
| | 00:07 | photographer, make sure you do
your best to get the Raw images.
| | 00:11 | Now, Raw is a category of files, so
they might have extensions like cr2 or nef.
| | 00:17 | There's a wide range of file formats,
but what happens is, as you open these
| | 00:21 | using the Adobe Camera RAW Module,
which is part of Photoshop and Bridge.
| | 00:25 | This will allow you to get in there
and work with the Raw photo information,
| | 00:29 | which typically has 9 to 12 times
more information, than the JPEG file.
| | 00:34 | Let's take a look at four Raw files
and I'll show you the non-destructive
| | 00:38 | workflow that you have with a lot of
flexibility for exposure and color.
| | 00:42 | I'll double-click to open these
up and the four images are opened.
| | 00:45 | Let's take a look and see what we can fix.
| | 00:48 | The first image here is terribly underexposed.
| | 00:51 | Clicking Auto will analyze that
image and recover quite a bit of info.
| | 00:55 | Let's go ahead and lift the shadowy
regions for the water tower, pull the
| | 00:59 | exposure back down and
recover some of the Highlights.
| | 01:04 | That is a nice job on balancing the
exposure and I could fill it in with a
| | 01:08 | little bit of color,
using Vibrance and Saturation.
| | 01:11 | Now, that's a pretty big
difference between the two images.
| | 01:16 | You'll notice in this case that there's
some dust, it might be on the sensor itself.
| | 01:20 | I can go ahead and remove some of that.
| | 01:23 | I'll use Spot Removal here and I could
just simply draw and then set where to
| | 01:30 | sample from, that does a nice job.
| | 01:34 | Now I can continue to clean that up
| | 01:36 | it looks like there's a
little bit more down here.
| | 01:38 | I'll do one more and then after that
you'll get the idea and you could practice
| | 01:42 | removing the rest of the spots but sensor
dust or things on the lens are pretty typical.
| | 01:49 | Let's go ahead here with the Straighten
Tool and draw a line on something that
| | 01:53 | should be straight and the image will
go ahead and compensate and straighten.
| | 01:58 | Now, if you need to, you can choose
from the Crop Presets here and I'll use the
| | 02:04 | 9 to 16 crop and that's going to give me
an accurate crop for a video work file.
| | 02:11 | So, that straightens the image and
automatically crops and did a nice job.
| | 02:16 | I'll stylize that with a little Post-
Crop Vignette, to guide the viewer's eye
| | 02:20 | towards the center of the image.
| | 02:22 | Here's a dark file, let's go
ahead and take a stab at this.
| | 02:27 | I'll adjust it and recover some of the
shadowy information here, by lifting the
| | 02:31 | Shadows and pulling down the Highlights.
| | 02:35 | I can also put a little bit of
Christmas into the Blacks there, pulling that
| | 02:39 | down, so they remain nice and tight.
| | 02:41 | Let's open that up a bit.
| | 02:45 | Some Clarity will selectively add
contrast, and you could really see this,
| | 02:49 | by zooming into 100%.
| | 02:52 | Spacebar gives me the Hand Tool and as
I drag that Clarity slider, look at how
| | 02:58 | it just tightens up the
contrast selectively on the image.
| | 03:01 | While we're zoomed at 100%, this is a
good time to go ahead and jump over to the
| | 03:07 | Details tab where some of the Noise
could be reduced for the shadowy areas.
| | 03:13 | Notice that Noise Reduction there
removes some of that unwanted graininess
| | 03:18 | caused by a higher ISO in the exposure.
| | 03:22 | I can also go ahead and
selectively remove noise in the Color areas.
| | 03:26 | All right, that looks good.
| | 03:29 | Ctrl+0 or Command+0 to pull out, C for
Crop and let's just drag that out and
| | 03:34 | crop to the 16:9 aspect
ratio for video. Looks good.
| | 03:41 | Two more images, a very over exposed image.
| | 03:45 | I'll click Auto to do the initial
recovery and that did a nice job.
| | 03:50 | I could recover some of the highlight
areas there and then lift the shadowy areas.
| | 03:57 | Additionally, you can use the
Adjustments Brush, which allows you to go
| | 04:01 | ahead and start to brush.
| | 04:04 | I'll turn on the Auto Mask and Show
Mask options, to make it easier to see my
| | 04:08 | edges and I could change this color here,
so the mask really stands out. There we go.
| | 04:18 | The blue areas are indicating where
the adjustment is going to be applied.
| | 04:25 | I'll now turn off the Show Mask option and I
could step in here and use the Adjustments.
| | 04:32 | In this case, brightening up that
area and really putting in Saturation.
| | 04:40 | That looks nice and if I toggle that off
and on, you'll see that the ability for
| | 04:44 | localized adjustments inside the
Camera Raw dialog is a really popular tool.
| | 04:49 | There we go, 16:9 aspect ratio and a
little Post-Crop Vignette, to guide the
| | 04:56 | viewer's eye towards the center.
| | 04:58 | One more image, let's start with Auto.
| | 05:01 | It looks like we really need to
recover some of those Highlights.
| | 05:07 | I'll pull down the overall Exposure
and instead, lift the Shadowy regions and
| | 05:12 | you see that that roof starts to come out.
| | 05:15 | Because we've adjusted that area, I'd
recommend some Vibrance, which really
| | 05:19 | pops the non-skin tones.
| | 05:21 | Remember, you can use the
Adjustment Brush if you want to go ahead and
| | 05:25 | selectively paint in an adjustment and
I'll just pull down the Exposure there a
| | 05:31 | bit and further boost the Saturation.
| | 05:34 | Before, after, looks a lot better.
| | 05:41 | Let's come back to the Main
tab here, we'll crop the image.
| | 05:46 | I like how that's looking.
| | 05:47 | I'll take my Spot Healing Brush,
left bracket makes it smaller.
| | 05:57 | Click to define and set a sample point
and then it really brings this home by
| | 06:03 | pumping up the Clarity and you'll see that
that just brings out the Details of the rock.
| | 06:08 | Finish it out with a little
vignette and there we have it.
| | 06:11 | So look, four images completely
processed giving us a much better look than what
| | 06:17 | the camera could've captured as a JPEG
file, and giving us total control over
| | 06:22 | the development, just like a digital darkroom.
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| Fixing exposure| 00:00 | When working with your images, you'll
often have exposure issues, either under
| | 00:04 | or overexposed photos.
| | 00:06 | Now, as you just saw in the previous
module when we tackled Raw images, that's
| | 00:10 | one of the best ways to fix an image.
| | 00:13 | However, you won't always have that
option, because you might have a processed
| | 00:17 | footage file like a movie or a
still photo, like a JPEG or a TIFF.
| | 00:22 | Let's explore the tools that are
available outside of the Raw Interface.
| | 00:26 | I've got four images here.
| | 00:28 | I'm going to open them up into Photoshop.
| | 00:31 | Let's start with the first one here and it's
in the portrait aspect ratio, but that's okay.
| | 00:36 | Sometimes, we'll use portrait images as
part of the motion graphics project or
| | 00:40 | we could be doing a pan
here for some motion control.
| | 00:43 | This image is a bit dark.
| | 00:45 | Now, using the Levels Adjustment is a very
popular way to go ahead and fix the image.
| | 00:51 | You'll notice dragging the Middle slider
here opens up those middle details, and
| | 00:57 | the White slider will brighten up the
whites and the Black slider pulled in will
| | 01:01 | increase the contrast in the dark areas.
| | 01:03 | Now, that did a pretty nice job.
| | 01:06 | You can also be a bit lazy and just
click Auto and let it analyze the image.
| | 01:12 | If you Alt+Click or Option+Click on
Auto, you can actually choose from four
| | 01:16 | different methods to go ahead and fix
the image and as you notice here, some
| | 01:21 | very different results, such as fixing
the Per Channel Contrast and Snapping the
| | 01:27 | Midtones to appear white.
| | 01:28 | That looks a lot better.
| | 01:30 | I can just open that up a little bit
more in the middle and you just see that
| | 01:33 | that's a very dramatic fix from
where it started, to where it ended up.
| | 01:39 | Another common problem is
the Shadows and the Highlights.
| | 01:43 | One thing you can do is adjust an image
with the Shadows/Highlight Adjustment,
| | 01:47 | which is normally a destructive adjustment.
| | 01:50 | However, if you convert the object for
Smart Filters first, you can apply the
| | 01:54 | Shadows/Highlights command as a filter.
| | 01:58 | So, I can now choose Image>
Adjustments>Shadows/Highlights.
| | 02:03 | Normally, you'll see two sliders in
this more basic mode, one for Shadows and
| | 02:10 |
| | 02:11 | one for Highlights, which
recovers the overexposed areas.
| | 02:14 | What you really want is to show more
options however, so you can define the
| | 02:19 | width of the Shadows.
| | 02:20 | In this case, the darkest third of the
image is being treated as a shadow, so
| | 02:25 | now it's only brightening up the leaves.
| | 02:29 | If I expand that Width, you'll see it
starts to get into the giraffe itself
| | 02:34 | and Radius will create a nice
feathered transition between the selected and
| | 02:38 | the non-selected areas.
| | 02:40 | Similarly, I could define the
width for the brightest areas.
| | 02:44 | In this case, 25%, being the
brightest quarter of the image and I can knock
| | 02:49 | those down with a little transition.
| | 02:51 | Anytime you make an adjustment to the
exposure, I recommend that you put a
| | 02:56 | little contrast and color back in to
round it out, and you can easily see the
| | 03:00 | before and after results there of
that Shadows/Highlight Adjustment.
| | 03:04 | Let me click OK and it's applied
nondestructively to the image as a Smart Filter Effect.
| | 03:11 | That same approach can be used with video.
| | 03:14 | Now, some video editing tools will
have this available to you, right within
| | 03:18 | the NLE like Premiere Pro and After
Effect does, but if not, you can make the
| | 03:23 | video layer a smart object and then apply the
Shadows/Highlights Adjustment here as well.
| | 03:30 | That gives you total control over the
image to define what's a Shadow and what's
| | 03:34 | a Highlight and knock those
overexposed areas down, like the bright metal
| | 03:40 | highlights there or the
reflections on the wall, there we go.
| | 03:46 | Remember, this is a video file.
| | 03:50 | So, if we take a look at the Timeline,
I could click Play and you'll see the
| | 03:56 | video plays back in real-time in Photoshop CS6.
| | 03:59 | It looks a lot better, before, after, a
big change in those shadowy areas being
| | 04:09 | lifted and detail being
restored inside the sweater.
| | 04:13 | So, as you work with these, it's
really up to you how you repair the image.
| | 04:18 | Remember, the use of the Shadow/
Highlights Adjustment goes a long way and I
| | 04:22 | think you'll find that tremendously
useful as you try to fix a photo; or you
| | 04:27 | can combine that with a nice Levels
Adjustment, so you can go ahead and lift
| | 04:32 | the Midtones and then drag the Black
and White sliders in to restore the
| | 04:36 | contrast that you need.
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| Fixing contrast| 00:00 | Closely related to exposure is contrast.
| | 00:03 | As you start to adjust how bright an
image is, you'll often see a collision
| | 00:08 | in the middle, where the difference
between the brightest and the darkest
| | 00:11 | areas starts to wash out.
| | 00:13 | It becomes important that you fix contrast.
| | 00:16 | This could be done with levels or with curves.
| | 00:18 | I'll go ahead and open up couple of
images here and let's see a few techniques.
| | 00:24 | First off, I could take
advantage of that Auto Levels Adjustment.
| | 00:28 | And clicking Auto will analyze
the image and it did pretty well.
| | 00:34 | As I pull that middle slider over, I can
now take advantage of the Input Levels.
| | 00:39 | So, dragging that in will
increase the contrast of the shadows.
| | 00:44 | If your Brights seem too bright, you
could drag the output sliders and that will
| | 00:50 | lower the intensity value of the white.
| | 00:53 | However, as you adjust output, you may
need to revisit the input, so you could
| | 00:58 | see the changes that you are making.
| | 01:01 | Remember, with most images a global
adjustment may not be the best idea.
| | 01:07 | So, instead of applying this Levels
Adjustment to the whole image, I can
| | 01:11 | instead take the Quick Selection Tool
and just trace over my image and isolate
| | 01:23 | my adjustment to just the building here,
leaving the sky areas untouched, making
| | 01:30 | a better overall adjustment.
| | 01:33 | You see there that localizing it was a
better idea and we have stronger contrast.
| | 01:40 | Similarly, you can go ahead and
select the last selection by choosing
| | 01:45 | Select>Reselect and
Inverse it to select the sky.
| | 01:50 |
| | 01:50 | Now, a separate Level Adjustment on the
sky can be used to recover some of the
| | 01:55 | details and I could really push the
contrast in the midtones there to bring
| | 02:00 | the drama back in the clouds and you see
that the before and after is quite impressive.
| | 02:06 | As you do that if you get a little
fringe at the edge there, you can always
| | 02:10 | bring up the Properties Panel and
adjust the Feather of the mask to create
| | 02:16 | a gentler transition, and the Mask
Edge button will even let you go ahead
| | 02:23 | and adjust that further, so you can shift it
one way or the other to expand or contract.
| | 02:29 | That looks pretty good.
| | 02:35 | And you see that that's a much better
improved contrast adjustment where we
| | 02:39 | separately adjusted the building versus the sky.
| | 02:43 | If you're looking for just a quick fix,
one of my favorite adjustments is to
| | 02:47 | just choose Image>Adjustments>Equalized.
| | 02:51 | However, it tends to be a bit strong.
| | 02:54 | So, immediately after
running it just chose Edit>Fade.
| | 02:59 | This allows you to go ahead and back off
the difference and merge the two images
| | 03:03 | together and you see that
that's a very nice adjustment.
| | 03:07 | If you go to the History Panel, you
can easily compare between the two.
| | 03:11 | Let's just make a snapshot, and now I
could toggle between the two images and
| | 03:17 | you see what a nice quick
fix that was to the contrast.
| | 03:21 | Here's that technique again.
| | 03:23 | Image>Adjustments>Equalize, run the
Fade command and just back that off a bit;
| | 03:33 | and when you do, you can quickly
toggle between the two states to see how
| | 03:38 | you've improved the image.
| | 03:39 | Remember, as you adjust exposure,
you almost always need to go back and
| | 03:43 | adjust the contrast.
| | 03:45 | Brighten up the image and you'll want to
go ahead and restore the proper balance
| | 03:49 | between the light areas and the dark areas.
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| Using Content-Aware Scale| 00:00 | A lot of times when you work with an image, it
won't be the proper shape for a video screen.
| | 00:06 | For example, maybe you've cropped the
image and if you go any tighter, you're
| | 00:09 | going to be cutting off unwanted
details in the face or perhaps the image is
| | 00:14 | shot portrait, and what
you really need is landscape.
| | 00:18 | Fortunately, there is Content Aware Scale.
| | 00:20 | I'll go ahead and open up these two
images and let's solve our problem.
| | 00:27 | In this first case, we have our
headshot, and if I look at this image, I see
| | 00:32 | that my canvas is 1280x720;
| | 00:36 | however, in order for that photo to
fill the space, I'd have to adjust the size
| | 00:41 | of the picture so big that his
mouth starts to get cut off and it's
| | 00:45 | uncomfortably tight.
| | 00:47 | So instead, I will choose
Edit>Content Aware Scale.
| | 00:54 | Clicking the person icon up here will
do some basic skin tone protection, so as
| | 00:59 | I start to stretch this, the skin
tone area is not going to be affected;
| | 01:04 | meaning, that I could recompose the
photo and stretch the background, giving me
| | 01:10 | an entirely new composition.
| | 01:12 | However, most of the time when you try
this technique, you'll need some better
| | 01:16 | control, so scaling this even with a
skin tone protection doesn't really work
| | 01:21 | very well in this case.
| | 01:23 | So what I'm going to do
is create an Alpha Channel.
| | 01:27 | With the Quick Selection Tool I'll just go
ahead and drag over to make a basic selection.
| | 01:32 | Here we go.
| | 01:33 | It doesn't have to be perfect.
| | 01:35 | I'll select the rocky area here, that
looks good and click Refine Edge which
| | 01:41 | allows me to do Smart Radius to
analyze the image and then I could shift that
| | 01:47 | Edge to expand it a bit and even
Feather it, so it's a bit more gradual.
| | 01:53 | I could then output that as a
selection, clicking OK will make an active
| | 01:58 | selection, then switch over to Channels
where you can go ahead and click to save
| | 02:05 | the selection as an Alpha Channel. There it is.
| | 02:09 | You'll notice that I already had an
Alpha Channel in this image, so we've done
| | 02:13 | it two different ways.
| | 02:14 | One where we have selected the
tree and the boat and another where I
| | 02:18 | just selected the boat.
| | 02:19 | All right, let's give it a shot.
| | 02:23 | With the Layer selected, I could choose
Content Aware Scale from the Edit menu.
| | 02:28 | This allows me to define the area to be
protected, so there is that first Alpha
| | 02:34 | where the tree was being protected
and the boat and I could stretch it, or
| | 02:40 | here's that second Alpha where you see
that the boat is protected, but more of
| | 02:45 | the tree is being adjusted.
| | 02:47 | In either case, it did a great job of
protecting the areas that shouldn't be
| | 02:51 | distorted while selectively
allowing other parts of the image to be
| | 02:55 | dynamically resized.
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| Sending to a nonlinear editor (NLE)| 00:00 | Once your files have been opened, sized,
color corrected, and prepped, you can
| | 00:05 | go ahead and save them back out to your disk.
| | 00:07 | They're then ready to bring
into the nonlinear editing tool.
| | 00:10 | There's a couple of ways of doing this.
| | 00:12 | Let's take a look at the Premiere Pro.
| | 00:14 | In the project panel here, I could
double click and if I know exactly where I
| | 00:18 | want, I can go ahead and select those
images and just click Open and you'll see
| | 00:23 | that they import in.
| | 00:24 | On the other hand, I could
browse to find those images.
| | 00:28 | One easy way to do this is by
choosing File>Browse in Adobe Bridge.
| | 00:34 | This makes it easier to see
all of the images, and remember;
| | 00:38 | you have the ability here to see the
entire drive structure as you want to
| | 00:42 | navigate, making it simpler
to find some of your content.
| | 00:46 | You also can view ratings and other
important metadata about the files, and I
| | 00:51 | typically find that this is much
more robust than a Finder or Windows
| | 00:55 | Explorer dialogue box.
| | 00:57 | Clicking Enter will then bring those
in to Premiere Pro as well and you see
| | 01:01 | they're ready to use.
| | 01:02 | Once you have the images, I suggest
that you place those into a Bin making it a
| | 01:06 | bit easier to keep them
organized by shoot or topic.
| | 01:10 | The benefit of a Bin as well is, when
opened, you could change the view to see an
| | 01:15 | icon type arrangement, making
it easier to see your images.
| | 01:19 | And of course, you can adjust the size,
so you can really see your photographic
| | 01:23 | content, making it easier to
integrate it into your project.
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|
|
3. Creating a Logo BugSetting the canvas| 00:00 | The use of logos is very popular in
modern video production, perhaps it's to put a
| | 00:04 | client logo onto a lower third bar
for a name identifier, or maybe to put a
| | 00:09 | network branding icon up in
the bottom corner of a video.
| | 00:12 | Watermarking videos this way is
particularly popular because of the internet
| | 00:16 | and mass distribution, where you want
branding to be carried with the product
| | 00:20 | even though it's going to be on lots of
different places, so it stays consistent
| | 00:25 | and easy to identify where it came from.
| | 00:27 | Let's go ahead and make a new
document and I'll size this for video.
| | 00:31 | Using the Fill & Video Preset, I
chose my correct size and click OK.
| | 00:36 | With this done, you'll notice that we
have safe title guides indicating where
| | 00:40 | things should be placed.
| | 00:42 | In the case of logos with text, if I
want them to be read, they should go
| | 00:47 | inside this middle box.
| | 00:50 | So, this general area here would be
appropriate for a lower third icon or a network bug.
| | 00:55 | On the other hand, if you just
want the logo to be seen, but not so
| | 01:00 | concerned about read, you can go ahead
and move that using the outside lines
| | 01:04 | as general guidance.
| | 01:06 | This will ensure that on a broadcast
monitor you could properly see things.
| | 01:10 | Now, the use of safe title has
fallen a bit out of style, because when
| | 01:13 | publishing video to the web,
it's much less of an issue.
| | 01:17 | Same holds true with modern HD formats,
we don't get as much cut off at the edges.
| | 01:22 | However, when dealing with purist or
just to be safe, it's still a good idea to
| | 01:26 | consider Action Safe or Title Safe
before you position the logo bug.
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| Placing the vector logo| 00:00 | Earlier, you learned about the Place
command to go ahead and add a photo into a
| | 00:04 | video sized document.
| | 00:06 | You can do the same thing with the
vector logo file, such as a file created
| | 00:11 | by Adobe Illustrator.
| | 00:12 | Simply choose File>Place and
navigate to the vector file you want to use.
| | 00:20 | When you click Place,
it's added into the document.
| | 00:23 | Now, if it's a vector file, depending
upon how it was created, you might get
| | 00:27 | the Place PDF dialogue box, which allows you
to see the whole page or smaller components.
| | 00:33 | I've got the image selected, so
I'll choose OK and it adds it in.
| | 00:38 | You'll notice that it
automatically scaled it down a bit.
| | 00:41 | This allows me to adjust and
place it where I want to go.
| | 00:44 | In the strictest sense, it should really
be placed right about there for the text
| | 00:48 | for maximum readability, but because I'm
going to put this out to the web, I can
| | 00:53 | nudge that over just a little bit
and it should still be readable.
| | 00:57 | To constrain proportions as I size this,
I can hold down the Shift key and adjust.
| | 01:01 | When I click Return or
Enter, it will size the image.
| | 01:08 | Notice that this is still a smart object.
| | 01:10 | So, if you change your mind you can go
ahead and adjust it as large as you need
| | 01:15 | to and the vector file will
redraw at maximum crispness.
| | 01:20 | You also have the ability if
necessary to export the vector file.
| | 01:24 | Simply select the Layer and choose
Layer>Smart Objects>Export Contents, this
| | 01:32 | will allow you to go ahead and spit out
the original smart object to a new file.
| | 01:37 | In this case, as a new Adobe Illustrator
file that can be modified in a program
| | 01:42 | like Adobe Illustrator; or hand it off
to another team member, so they can use
| | 01:46 | it in another project.
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| Working with raster logos| 00:00 | While a vector file is ideal for
logos, you won't always have the choice.
| | 00:04 | Perhaps you had to turn to the
internet to legally download a client logo or
| | 00:08 | maybe you had to scan it off of a
photographic source like an annual report.
| | 00:12 | Any case a raster file or pixel
based logo can be used but it typically
| | 00:18 | involves a little more cleanup.
| | 00:20 | Let's open up an image here into
Photoshop that comes in and if I check the size
| | 00:27 | here, you'll see that it's more than
high enough resolution for HD video.
| | 00:32 | If I take the Eyedropper Tool and click, I want
you to notice that the white is not pure white.
| | 00:38 | In this case, it's got a value of 3%
gray and as we get over to the left corner
| | 00:43 | here, it goes up to almost 10% gray.
| | 00:45 | So the background is not even.
| | 00:48 | Let's start by making a Levels
Adjustment, Ctrl+L and this shows me that I can
| | 00:54 | clip the blacks and clip the
whites. That looks better.
| | 01:01 | Now, all those areas are definitely 0
for the white and 100 for the blacks,
| | 01:09 | a nice crisp image.
| | 01:10 | I can use the Quick Selection Tool if needed,
but in this case, I could turn to Channels.
| | 01:17 | So over in the Channels Panel, I'm
just going to Duplicate this channel and
| | 01:22 | I'll call it Alpha.
| | 01:24 | With it selected, I can simply modify it.
| | 01:28 | So, in this case, I'll take the
Paintbrush Tool and just paint in where those
| | 01:33 | letters are, so they're
not see-through. Here we go.
| | 01:38 | If I turn off the Gray Channel, it
might be a little easier for you to see.
| | 01:42 | Now what I'm try to do in this case,
is just get both the letter and the
| | 01:47 | transparent area, where it's
just currently white, filled in.
| | 01:52 | What's white is going to be transparent
and what's black is going to be opaque.
| | 01:59 | Anything that's partially gray
will be partially transparent.
| | 02:02 | All right, that looks pretty good.
| | 02:05 | I can go ahead and Command+Click to load that.
| | 02:10 | On a PC, that's a Ctrl+Click. There it is.
| | 02:14 | Turn it off and turn on the rest.
| | 02:17 | Let's go ahead and switch this to
the RGB mode, which is the better mode
| | 02:21 | for video graphics.
| | 02:22 | Now, with the layer selected, we'll
double-click to float it, I'll call it Logo
| | 02:29 | and I can now add a mask.
| | 02:31 | Now, if the mask appears inverted like
it did here, simply select it and just
| | 02:37 | press Ctrl+I or Command+I to invert it.
| | 02:41 | You'll see that the logo is now cut
out of the background and is ready to go;
| | 02:45 | and a simple use of the Crop
Tool can allow us to size this.
| | 02:49 | I'll just type in 1920px x 1080px,
there we go, and the logo has been cropped
| | 03:01 | and sized for use in a digital video project.
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| Enhancing with styles| 00:00 | Photoshop offers a useful set
of effects called Layer Styles.
| | 00:04 | Essentially, these individual effects
combine to create a style for the selected layer.
| | 00:10 | This includes things like Stroke and
Bevel and Glow, and you'll find with proper
| | 00:14 | restraint, they go a long way.
| | 00:16 | I'll select the logo here and
I'll click the fx to start to access
| | 00:20 | the individual effects.
| | 00:22 | Let's start with a gentle Emboss. Here we go.
| | 00:30 | It gives it a nice sort of beveled
thick edge and I can play with the Contour
| | 00:35 | settings here to get different looks.
| | 00:39 | I like how that's looking.
| | 00:40 | Let's adjust the light. It looks good.
| | 00:43 | A little bit of Satin on the top will
make things seem a bit more regular and
| | 00:50 | you could play with that and
do things like change its mode.
| | 00:54 | That just creates a little bit
of displacement across the top.
| | 00:58 | I'm going to put a gentle stroke on the
edges here and that allows me to apply
| | 01:03 | a Color Stroke if needed or we could switch
that over to something like an Outer Glow.
| | 01:10 | Now, you might need to tweak the
overall mode for that, until you get the
| | 01:17 | results that you want.
| | 01:19 | In this case, you'll notice that I'm
seeing a bit of an edge on the outside
| | 01:22 | edges, so it might become
necessary to modify this.
| | 01:28 | Since I'm happy with that mask layer, I'm
going to discard the layer mask and I'll Apply it.
| | 01:34 | This will make it easier to then
select the areas I don't want and press
| | 01:40 | Delete to clean those up.
| | 01:42 | There's a little bit of a fringe at the
very edge here and I just clean that
| | 01:47 | up very quickly and easily.
| | 01:49 | So, a simple Outer Glow, double
clicking that I could do things like change the
| | 01:55 | Color or more commonly, you might turn
to something like a Drop Shadow to give
| | 02:01 | it a bit of perspective.
| | 02:03 | You can always select that Drop Shadow
and move it and adjust the Size and the
| | 02:09 | Spread to get the results you are looking for.
| | 02:12 | Okay, that looks good.
| | 02:13 | I'll just cleanup that
upper corner a bit. Good.
| | 02:19 | Let's switch over to that vector
logo from before and process it a bit.
| | 02:24 | With it selected, I'll
go ahead and click the fx.
| | 02:27 | I'm going to add a bit of a Bevel.
| | 02:30 | Pressing Ctrl++ or Ctrl+-
will zoom in or out.
| | 02:34 | Holding on the Spacebar lets you pan.
| | 02:37 | Let's adjust the Bevel on this image.
| | 02:40 | I like it taking on sort of a 3D button
look and I can even adjust the shape of
| | 02:45 | the Contour to get a little
bit more pronounced edges.
| | 02:49 | That seems nice and natural.
| | 02:51 | I'll put a Stroke on the outside there.
| | 02:58 | I could select the Color from the
image by clicking the well there and then
| | 03:02 | sample from within the photo.
| | 03:06 | That's looking good.
| | 03:07 | I'll finish that out.
| | 03:13 | That Satin overlay there is just
punching up the color and contrast,
| | 03:16 | it looks nice. And a simple Drop Shadow
dragging to position as necessary. Okay.
| | 03:26 | If you look at that, you can see the
before and the after and the use of Layer
| | 03:31 | Styles was very effective and quick.
| | 03:33 | Another nice thing about Layer Styles
is if necessary, you can right click and
| | 03:38 | choose to copy the Layer Style and
then paste it to another layer for easy
| | 03:43 | consistency with not a lot of work.
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| Setting transparency| 00:00 | One popular option is to create
partially transparent logo bugs so the video
| | 00:05 | behind can show through.
| | 00:06 | This is done all the time for
network IDs and just involves a little bit
| | 00:10 | of Photoshop trickery.
| | 00:12 | Here's how it works.
| | 00:13 | I've gotten my source image here that
I'm going to use for reference and let's
| | 00:17 | just select the logo.
| | 00:18 | Now in this case, I've got a
very clean logo black on white.
| | 00:22 | So I'm just going to remove
this unwanted text at the bottom.
| | 00:27 | I could fill that with white and click OK.
| | 00:33 | I can now select everything
in the image that's not white.
| | 00:37 | One easy way to do this is just to Ctrl+
Click on the Channels to create a selection.
| | 00:42 | In this case it's selected the white
areas and then chose Select>Inverse.
| | 00:47 | I've now got the logo and I could
simply copy and then come on over and paste.
| | 00:54 | Now, there are lots of ways to do this.
| | 00:56 | You could also use the Place
command like you learned earlier.
| | 00:59 | The big thing is to just have a
logo that has some transparency.
| | 01:05 | I'll then name the file, and right click
to make it a Smart Object, so I preserve
| | 01:13 | all the original details.
| | 01:16 | This means that when I transform
this, it will preserve the original
| | 01:20 | resolution inside the file. There we go.
| | 01:27 | Now, the key here is to
apply a small Layer Effect.
| | 01:30 | I'm going to do a gentle bevel.
| | 01:34 | Just a small one, so it shows up.
| | 01:37 | Once you have that bevel, you could
play with the size and the smoothness.
| | 01:41 | It doesn't need to be too pronounced.
| | 01:44 | If you want to introduce a color, you
could take advantage of the Color Overlay
| | 01:48 | options and dial in a
color as well. Here we go.
| | 01:56 | Now, let's start with the Color
Overlay turned off for a second.
| | 02:00 | You'll notice that you have two options
here, one for Opacity and one for Fill.
| | 02:06 | Opacity will lower the
entire opacity of the layer.
| | 02:11 | On the other hand, Fill will lower the
opacity for the original pixels leaving
| | 02:18 | behind the Layer Style.
| | 02:21 | So you see there a classic
watermarked look and you could dial that in, with
| | 02:25 | just a little bit of Fill left for the
original pixels to show behind. And then of
| | 02:31 | course, the Color Overlay can be
dialed in, and adjust the Opacity to taste,
| | 02:36 | giving you a nice see-through, tinted jelly bug.
| | 02:41 | So, if that logo needed to go over a
video source, you'll see that the video
| | 02:45 | does indeed show through and this is
ideal for things like network identifiers
| | 02:51 | which often need to stay up and be
positioned, so that video can show behind.
| | 02:56 | If you're going to make video for the
web or broadcast TV, the use of a jelly
| | 03:00 | bug like this is a very popular technique.
| | 03:02 | When you have it how you want,
simply turn off all the background layers,
| | 03:07 | then go on over to the Actions
Panel and load the Video Actions.
| | 03:13 | We'll explore these more in just a
moment, but inside, you'll find an action
| | 03:18 | that says, Alpha Channel.
| | 03:20 | Clicking it will run the action. There you go.
| | 03:24 | You'll see the Alpha Channel is created
and you can now simply save off a TIFF
| | 03:29 | or PSD file, for import into your Video
Editing or Motion Graphics Tool, and the
| | 03:35 | partial transparency and
jelly bug will be preserved.
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|
|
4. Animating a LogoPreparing a layered file for animation| 00:00 | If you'd like to animate a logo, you'll
often want to break it up into separate pieces.
| | 00:04 | This is so you could scale the individual
pieces or perhaps reveal them over time.
| | 00:10 | This is the easiest when
working with the vector file
| | 00:12 | but in this module we'll take a look at
both workflows, the Raster and the Vector.
| | 00:17 | Let's start with the easy one.
| | 00:19 | I've got an Illustrator file here,
so I could right-click and open this
| | 00:23 | with Adobe Illustrator.
| | 00:25 | You'll find Adobe Illustrator in
most of the suites, including Production
| | 00:29 | Premium, Creative Cloud and Master Collection.
| | 00:34 | There is the vector file, and let's
go ahead and copy that by choosing
| | 00:40 | Edit>Select All>Copy.
| | 00:43 | I can now make a New Document and
you'll notice that there are profiles
| | 00:48 | for video and film.
| | 00:50 | So I'll select the 1080p option here,
click OK and then paste the logo inside.
| | 00:58 | This ensures that the file comes
in at the right size for video.
| | 01:03 | In this case, it's a bit small.
| | 01:04 | So holding Shift+Alt or Shift+Option,
I could scale that up so I reach the
| | 01:11 | Safe Title Boundary. There we go;
| | 01:16 | looks good.
| | 01:16 | Ctrl+0 to go ahead and center
that, Ctrl+- to zoom in or out.
| | 01:23 | What I really need to see
now is the Layers Panel.
| | 01:26 | So I'll choose Window>Layers.
| | 01:29 | Doing so, you see the logo is
constrained to a single layer.
| | 01:33 | If you twirl this down, you've
got the individual objects there.
| | 01:37 | What I want to do is click on that
group and choose, Release to Layers.
| | 01:42 | I'm going to use the Sequence option, so
each layer contains one object, and you
| | 01:47 | see that that split it out.
| | 01:50 | Now, I might need to do
some general grouping here.
| | 01:53 | But sizing this, it starts
to see the different pieces.
| | 01:57 | So there is the word Raster.
| | 01:59 | I can select that, clicking there,
and choose to Group that. Here we go.
| | 02:07 | Let's just pull that out. There it is.
| | 02:10 | We'll name it and I could
throw these other ones away.
| | 02:17 | Let's select this next group here.
| | 02:18 | If I twirl that down, I can start to
see all the things within and it becomes
| | 02:23 | easier to release things to layers; and you
see it starts to come out. There we have it.
| | 02:30 | Let's start to pull those pieces.
| | 02:32 | There is the one square, there is the other.
| | 02:37 | Selecting those, we can drag
them out. Let's name that.
| | 02:45 | I could just keep going and pull things out.
| | 02:47 | Remember, if you click on the little
dot there, you'll see it starts to select.
| | 02:51 | So Shift+Clicking will allow you to
select multiple objects. There we go.
| | 02:58 | I can Group those and pull that out, putting
that behind the word Raster, and I'll
| | 03:05 | call that Boxes and just keep going;
there is the word Vector, clicking on each
| | 03:13 | letter, so it's selected.
| | 03:15 | The process is a bit tedious, but you
want to end up with all the layers you
| | 03:19 | want and no more than you need.
| | 03:22 | So this does take a bit of work as you
start to select the individual pieces,
| | 03:27 | grouping them as needed, and then
pulling them out. There we go.
| | 03:39 | You start to see the individual components.
| | 03:42 | Now, as you build, you might
need to split things a bit.
| | 03:45 | For example, there's the outer
line and there's the inner one.
| | 03:53 | So I need to pull these two
out. Dragging it up there,
| | 03:56 | I'll call that centerline and
here's the outer stroke. Okay.
| | 04:03 | Everything else appears to be unnecessary.
| | 04:06 | So I could just drag it into the trash.
| | 04:10 | Now, lots of objects here, but
they are still not actually layers.
| | 04:15 | I need to pull this out of
the nested layer and above.
| | 04:18 | To do that, I'll select the main
Layer and I'll Release these to Layers.
| | 04:23 | Now I pulled it out, they are all
separate and I could remove them.
| | 04:27 | Unfortunately, you'll
notice that we lost the naming.
| | 04:31 | This is part of the drawback of
working in Illustrator, as you have all
| | 04:35 | these nested elements.
| | 04:36 | So you may find that the order of the
steps will vary slightly as you work,
| | 04:41 | but don't be surprised if you have to go
through and clean up your layers a few times.
| | 04:45 | While many people skip naming their
layers, I find it's very useful, because
| | 04:51 | when I go to a program like After
Effects to animate, I have all of my
| | 04:55 | objects easier to find.
| | 04:58 | Naming it clearly, is a good idea as it
will make it easier as you animate the
| | 05:04 | individual elements. And that one appears empty.
| | 05:11 | Throw that in the trash and it's good to go.
| | 05:15 | This can be saved out.
| | 05:16 | I'll just do Save As and let's save
this with the name "prepped". There it is.
| | 05:23 | Click OK and I'm done.
| | 05:25 | Now, that is the Vector File.
| | 05:28 | Raster Workflow, a little bit
different, but the same idea.
| | 05:31 | Getting the different elements split out,
so you can animate them independently.
| | 05:37 | I'll switch on over to
Photoshop and open up the files here.
| | 05:42 | I've already prepped one, and
I've got the original source.
| | 05:46 | What I want to do is get it so
that I have separate control.
| | 05:49 | So here's the logo with everything on
one layer and here it is where I have
| | 05:54 | started splitting the things out
into different pieces. There we go.
| | 05:57 | All right, let's see how that was built.
| | 06:01 | What I'm going to do is
start to duplicate things.
| | 06:06 | We'll start with the Select>
Color Range and choose the Red.
| | 06:15 | I can now adjust the fuzziness once I
uncheck Localize Color and you see that does
| | 06:20 | a pretty good job of selecting everything.
| | 06:22 | If I hold on the Shift Key+Click, I
could select more of the red, but it looks
| | 06:27 | like I did a pretty good job.
| | 06:29 | Clicking OK, there is my selection.
| | 06:31 | What I'm going to do is press Command+J
to copy that to a new layer. There it is.
| | 06:37 | There's the red object selected and
let's just name that "Red" to start.
| | 06:44 | Come back here to the other one.
| | 06:47 | If I Ctrl+Click to load that,
you see the red is selected.
| | 06:51 | I can now go ahead and
Expand that just a little bit.
| | 06:53 | I will do 2 Pixels and I'll Inverse it;
and it selects everything else in the
| | 07:00 | image, making it easy to go ahead and copy that.
| | 07:05 | So, there is everything that's not red.
| | 07:09 | Now, that worked pretty well.
| | 07:10 | There's a little bit of unwanted
transparency there, so I'm just going to bypass
| | 07:13 | that step and manually
select my blacks. Easy enough.
| | 07:18 | With the Color Range command, I can click
on the black area to make a basic selection.
| | 07:26 | Again, adjust the Fuzziness
slider until I feel the black areas are
| | 07:31 | properly being targeted. There we go.
| | 07:34 | Ctrl+J to jump a copy and
there are the blacks. Okay.
| | 07:42 | Now, we need to start splitting things apart.
| | 07:46 | Let's do that here.
| | 07:47 | I'll select this and if I press Shift+
Ctrl+J or Shift+Command+J, it will copy it
| | 07:55 | to the new layer and remove
it from the previous layer.
| | 07:59 | So there is the black square.
| | 08:01 | I'll take my Paint Brush and
just fill in the missing area.
| | 08:12 | Let's go ahead and grab the line. There it is.
| | 08:19 | Shift+Ctrl+J and we can grab the letters here,
Shift+Ctrl+J; on a Mac that would be Command.
| | 08:33 | Now I want to fill those letters
in with white. So, that's easy.
| | 08:37 | With the rectangular marquee, I'm
just Shift+Clicking here to select that
| | 08:43 | area; nice and simple.
| | 08:46 | On a new empty layer, I could
choose Edit>Fill and fill it with White.
| | 08:54 | If I put that behind, it
now looks properly filled in.
| | 08:58 | Selecting both layers will make
it easy to choose Layer>Merge.
| | 09:06 | Now, we've got our Line, we've got our
Stroke, all we need to do is finish out the Red.
| | 09:13 | Here's the Red option.
| | 09:15 | Let's select the word
Vector, Shift+Ctrl+J; good.
| | 09:21 | And here's the red square.
| | 09:23 | I'll finish this out
with a New layer called "Box".
| | 09:29 | Put it behind the Stroke and just grab
my Marquee Tool and drag out to define
| | 09:36 | the white box; filling that
in with white. There we go.
| | 09:45 | I have everything I need.
| | 09:47 | From the back, there is my Box, my
Outer Stroke, the word Raster, the line
| | 09:54 | beneath it, the Black Square, the Red Square
and we'll spell that correctly, the word Vector.
| | 10:03 | So, ready to animate.
| | 10:05 | Save that as a layered Photoshop file
and you're all set for the next steps.
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| Adjusting blending modes| 00:00 | The use of Blending Modes makes it
easy to mix individual components together
| | 00:04 | and I like to use this
as an animation technique.
| | 00:07 | For example, here is a logo and a
background that's been built up.
| | 00:12 | In a little bit, we'll animate these.
| | 00:14 | I have a texture with a gradient going on top.
| | 00:19 | Now, that gradient on its own is normally
pretty boring when you look at it for quality.
| | 00:24 | It just goes from black to white.
| | 00:26 | But, by going ahead and changing its
Opacity and changing its Blending Mode,
| | 00:34 | you'll see that that starts to
mix and creates interesting shadows.
| | 00:38 | Here's a second copy put on top and
that's just adding a little bit of a glow.
| | 00:44 | It's a blurred copy placed on top.
| | 00:47 | Putting a solid red layer on top
lets me go ahead and tint the image.
| | 00:53 | You'll notice as I change different
modes that it behaves very differently.
| | 00:58 | And so it's up to you, you can always
use the keyboard shortcut of Shift++ or
| | 01:02 | Shift+-, with the layer
selected and the Move Tool active.
| | 01:08 | This will allow you to step through the
modes and try out different options and
| | 01:15 | you see you can get very different looks.
| | 01:20 | I like vivid light there.
| | 01:23 | Put another copy on top in overlay mode
just to hide things out with a bit of a blur.
| | 01:28 | Another gradient, in this case, in
Multiply mode. Here it is Normal.
| | 01:35 | Here it is Multiplied, and you see
it's just creating a little bit of a focal
| | 01:40 | area and the logo sits on top.
| | 01:42 | Now you're saying, why did you do all that work?
| | 01:45 | Well, in a little bit, we can animate
those individual layers to create a nice
| | 01:50 | motion graphic, and we'll do
this inside of Adobe Premiere Pro.
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| Animating a logo with keyframes in Photoshop| 00:00 | While it's not commonly
used as a Motion Graphics Tool,
| | 00:03 | you will find that Photoshop offers a
Timeline that gives you some rudimentary
| | 00:07 | animation abilities.
| | 00:09 | This can be used for a simple logo
animation and I like to do the rubber banding
| | 00:14 | approach, where we set Keyframes for
the landing positions, then stretch the
| | 00:18 | pieces out and have them land
into their final landing spot.
| | 00:21 | Here's how it works.
| | 00:22 | I'm going to go ahead and make a new
Timeline and that up pops up, and what's
| | 00:29 | needed here is I'm going
to want a video Timeline.
| | 00:32 | So I'll Convert this to video
and that gives me each layer.
| | 00:38 | Now, I'll go ahead and press Ctrl+- (
minus) to shrink that window down a bit and
| | 00:42 | just make it easier to see all
my layers. Looks pretty good!
| | 00:49 | If I need to, I could change the
Timeline Frame Rate to assign a true video
| | 00:54 | Frame Rate, and if necessary I could
choose the Panel Options to make it a bit
| | 01:00 | easier to see all my thumbnails.
| | 01:02 | All right, that looks pretty good.
| | 01:05 | I left a copy of the logo on the
bottom there just for reference.
| | 01:09 | Let's merge the Box and Stroke together,
select both layers and press Ctrl+E or
| | 01:13 | Command+E, to makes it a
bit simpler and I like that.
| | 01:19 | And what we're going to do is make
each of these a Smart Object by right
| | 01:23 | clicking and Converting to Smart Objects.
| | 01:27 | What this does is it will embed a full
resolution copy inside the layer and it
| | 01:33 | opens up the ability to use the
Transform command with Keyframes. There we go!
| | 01:38 | Twirling each one down, we can start to animate.
| | 01:44 | Let's take the word Raster first, I'll
come to the 3 second mark, twirl it down
| | 01:56 | and you'll see the Keyframe for transform.
| | 01:59 | I'll turn that on to enable the
Keyframe and then come up to the beginning here
| | 02:05 | and press Ctrl+T. This allows me to
adjust as well as rotate and move.
| | 02:17 | Pressing Return, you'll see
that the object lands in to place.
| | 02:24 | Now that worked nicely for a simple
animation, let's keep going with another layer.
| | 02:30 | We'll grab Vector here, turn on the
stopwatch and the visibility, and we'll jump
| | 02:38 | back to the same starting point.
| | 02:41 | Ctrl+T, there it is. If I want to
adjust where it rotates around, I could drag
| | 02:49 | the rotation point there and what I'll
do is rotate this and pull it off screen.
| | 03:06 | And they both land at the same time.
| | 03:08 | That's looking pretty good!
| | 03:10 | I'll just scale this first one up and pull
that off a bit, and they tumble in to place.
| | 03:25 | Now, if you want to change the
stacking order, just adjust the heights in the
| | 03:29 | layers panel and you'll see that
one will sit on top of the other now.
| | 03:33 | All right, that's looking nice.
| | 03:38 |
| | 03:38 | Right about in the middle, I'm going to
bring on the other two boxes, so there's
| | 03:44 | my Red Square and my Black Square and
I'll just use the Opacity Controls here
| | 03:50 | and we will set those to 0, and then
go a little bit forward to about 310 and
| | 04:04 | take them back up to 100.
| | 04:13 | So, if we play that back, you'll notice
that they animate by fading into place
| | 04:20 | as things go passed.
| | 04:22 | Remember, if you'd like you can uncheck
Linear Interpolation and we will have a
| | 04:28 | little bit more smoothing into place.
| | 04:30 | All right, that's looking good,
let's just round that out.
| | 04:35 | We've got our line and I want that to
build right as those come in, so we'll do
| | 04:44 | Transformation, there we go, and
coming to the top here, we'll simply press
| | 04:54 | Ctrl+T and we'll uncheck the
width up here and set that to 0.
| | 05:02 | What that will do is scale it from the middle.
| | 05:07 | Now what's important is you want to
check your Keyframes, making sure that as
| | 05:12 | you select them, that looks pretty good,
there's the first one, make sure it's
| | 05:19 | selected, Ctrl+T and I'm going to ungang
those and just adjust the width down to zero.
| | 05:27 | Okay, click Commit, and
you'll see that the line builds on.
| | 05:37 | Now, if it doesn't appear that it
goes all the way off the screen, you might
| | 05:41 | need to make a few tweaks there.
| | 05:43 | Well, let's go ahead and press Ctrl+T there
and just adjust the width until we truly hit 0%.
| | 05:50 | I'll turn on Opacity there and just
set that to start at 0 and very quickly
| | 05:57 | fade back up to 100%.
| | 05:59 | All right, so there's the line and it
wipes on and we could finish that out by
| | 06:07 | simply fading in the back box, there it
is, and as that wipes, we want the back
| | 06:16 | box to come on, so we'll just twirl
that down and Keyframe the Opacity going up
| | 06:22 | to 100%, but starting at 0.
| | 06:29 | All right, let's play that from the
beginning, logo pieces build on, boxes fade
| | 06:41 | in, and it's completed.
| | 06:44 | So a very simple logo animation, if
I'd like to spit that out for use in my
| | 06:48 | Video Editing Tool, I can do so.
| | 06:50 | Let's go ahead and save that out by
choosing File>Export>Render Video and if
| | 06:55 | you'd like Embedded Transparency, just
choose the Adobe Media Encoder, go to
| | 07:00 | QuickTime and you can go
with the Animation Codec.
| | 07:04 | That will allow you to choose to embed
an Alpha Channel if you'd like by just
| | 07:09 | coming down here and I recommend
that you do a Straight Alpha Channel and
| | 07:13 | Render out the file.
| | Collapse this transcript |
| Animating a logo with keyframes in an NLE| 00:00 | Many Nonlinear Editing Tools support
the import of Photoshop layered files.
| | 00:05 | This means, you could take the layer
filed that you prep and start to animate it
| | 00:08 | right within the video timeline.
| | 00:10 | Here's how it works.
| | 00:12 | To bring in a layered file to Premiere
Pro, just double-click in the Project
| | 00:16 | Window and select your Photoshop document.
| | 00:18 | When you choose Open, a new dialog
will come in and it will invite you to go
| | 00:23 | ahead and Import that as a Sequence.
| | 00:26 | Doing this, will preserve all of the layers in
the document and I can click OK. There it is.
| | 00:33 | You'll see that there is
each piece and a Sequence file.
| | 00:37 | I'll typically Duplicate that, so I'm
working with the copy and that gives me a Timeline.
| | 00:43 | Let's zoom in a bit here.
| | 00:47 | You can now see all of the layers you have.
| | 00:51 | If you'd like more room, you can
always just drag that up. All right,
| | 00:57 | I can clearly see my animation
and let's do some simple motion.
| | 01:03 | I'll start with the background
here, grabbing the first layer
| | 01:06 | I'm going to add some Scale Keyframes.
| | 01:11 | So, there it is, double-click to open it
and under Effects, I can work with Motion.
| | 01:19 | This has Position and Scale.
| | 01:20 | So, dragging forward in time, I
could scale up and move it over a bit.
| | 01:34 | If I play that back, you'll see that it
will interpolate between the two values,
| | 01:39 | giving you some animation.
| | 01:42 | For smoother results, just select your
first keyframes and choose to go ahead
| | 01:47 | and Ease Out of them and then
Ease In to your final keyframes.
| | 01:53 | That will create a more natural looking
movement with some acceleration at the start and end.
| | 02:03 | You can continue and keep adding Motion
Keyframes to all the individual layers.
| | 02:08 | Now, I'm going to bypass that step
for a second and jump to the end here.
| | 02:12 | What I want to do is animate the logo itself.
| | 02:16 | Besides using the Motion property,
Premiere actually has some other
| | 02:20 | perspective effects.
| | 02:22 | So, under Video Effects here, I
could choose the Perspective category.
| | 02:28 | I'll go ahead and apply the Basic 3D effect.
| | 02:32 | What this allows me to do is do
things like add Specular Highlights and
| | 02:37 | introduce Swivel and Tilt; as well as the
Distance Object here, which makes it appear to zoom.
| | 02:44 | I'll just go forward in the logo a bit,
about halfway through, and add Landing
| | 02:50 | Keyframes, then come back to the
top and introduce a bit of Swivel.
| | 02:57 | You see a little Specular
Highlight coming into play?
| | 03:00 | Tilt and Distance to camera,
if I want to push it back.
| | 03:07 | Remember, you also have basic things
like Opacity, so you can create a little
| | 03:12 | bit of a fade, so it starts faded off
and then fades in to play. There we go.
| | 03:20 | Let's play that and you see the
logo zooms up and lands nicely.
| | 03:26 | There's a little highlight on it and
don't forget to take advantage of things
| | 03:31 | like Ease In and Ease Out.
| | 03:35 | Now, you can continue to refine this and
I have an example already imported into
| | 03:39 | the project to give you an
idea of what this could look like.
| | 03:43 | Here's one potential animation where all
of the layers have been keyframed and I
| | 03:49 | did a slightly different transformation.
| | 03:52 | So, it's up to you, play with the
layered file and come up with the logo
| | 03:56 | animation that you like or
work with one of your own files.
| | Collapse this transcript |
| Animating a logo with keyframes in After Effects| 00:00 | One of the easiest ways to animate
with the greatest options is bringing a
| | 00:04 | layered file into Adobe After Effects.
| | 00:07 | It could be a Photoshop file or an
Illustrator file that you've prepped.
| | 00:11 | Here's how it works.
| | 00:13 | To bring the file in, I just double
click in the Project area and I can
| | 00:17 | navigate to a Vector logo.
| | 00:20 | In this case, I'm going to bring this in
as a Composition, so all the layers come in.
| | 00:25 | If I want to crop intelligently to
the borders, I could choose Retain Layer
| | 00:29 | Sizes, but I'll just use the
Composition option in this case.
| | 00:34 | Clicking Open brings it in and I can now
double-click and see the individual pieces.
| | 00:41 | So here we have the three words of the logo.
| | 00:44 | Using a similar style, I'm just
going to start to snap this around.
| | 00:48 | Here's how it works.
| | 00:49 | Let's come in and at about 3
seconds here, I'm going to transform this.
| | 00:56 | I'm going to make these 3D layers.
| | 00:59 | So I'll twirl this down for Transform
and I'm going to use Position and Scale.
| | 01:06 | Now, what I want to do is take the Pan
Behind Tool which allows me to set the
| | 01:12 | anchor point and I'm going to put that
right at the right edge of the word see.
| | 01:18 | This will make it very easy to scale things up.
| | 01:23 | Let's turn on Rotation as well.
| | 01:27 | So now, I can scale this quite a
bit larger and I can start to rotate.
| | 01:46 | Now, when you do that, you'll
notice it looks a bit rasterized.
| | 01:50 | What you need to do is click the
Continuously Rasterize Option so it draws up cleanly.
| | 01:57 | I'll just scale that and move it off frame.
| | 02:02 | So there's the first word
coming in and it lands nicely.
| | 02:08 | Let's go to the next word here, "the."
| | 02:11 | Using the Pan Behind Tool, I'll set
that on the uppercase there of the "t" on
| | 02:15 | the crossbar and we'll twirl this down,
turning on all the properties, jumping
| | 02:25 | forward, and setting some more.
| | 02:30 | We'll just scale that up and
put a little bit of rotation in.
| | 02:48 | We'll move that off screen, but before I do,
turn on the Continuously Rasterize Option.
| | 02:55 | So there is the word "the."
| | 02:56 | It tumbles in nicely and lands.
| | 03:07 | We can go ahead and offset that a bit.
| | 03:11 | I'll jump forward to 10 seconds and pull that
down so there's a little bit of a ripple effect.
| | 03:16 | There we go, with the regular Move Tool.
| | 03:26 | We'll grab the regular tool there, the
Selection Tool and just pull that all the way down.
| | 03:31 | Let's go to the last option here, the
word "difference," and we could turn that
| | 03:43 | on, jump forward to 3
seconds as well and transform it.
| | 03:52 | Okay, nice and big, spin it a bit,
Continuously Rasterize, and move it up
| | 04:09 | and out of the way.
| | 04:14 | So now, we'll just stagger that.
| | 04:19 | Let's do a quick preview.
| | 04:21 | You'll see all the pieces start to
tumble into play and they land revealing our
| | 04:33 | word and logo animation. Now, I like that.
| | 04:36 | I just like a little bit of a glow.
| | 04:40 | So let's come here and on each layer,
we'll put the Radial Blur Effect.
| | 04:51 | I'll do the Radial Fast Blur and this
allows me to adjust where it's blurring
| | 04:57 | from and the amount. That looks nice.
| | 05:02 | We'll Keyframe that, come to the
beginning here, crank it up and adjust a
| | 05:12 | little, then come down to the end and
just pull that in so there's no amount.
| | 05:24 | So if we look at that, as those
land, there's a nice glow on them.
| | 05:31 | I think in the middle there, we'll
still have a pretty healthy glow, so
| | 05:37 | let's just crank that up. All right!
| | 05:44 | I'll copy that and just paste
it on the other three layers.
| | 05:52 | Let's have a RAM Preview and see
what it looks like. It looks good.
| | 06:00 | We got a cool effect and they land and glow.
| | 06:06 | All right, I like that.
| | 06:08 | There is the word "see."
| | 06:10 | Let's just adjust the effect.
| | 06:12 | We'll pull the center, so
it's over the word a bit more.
| | 06:17 | There is the center of the effect.
| | 06:18 | That looks good, right on the
letter E. Here's the word "the."
| | 06:25 | Let's just select its effect.
| | 06:27 | I'll turn off the Keyframes there and
just adjust the center, so it's over the
| | 06:31 | letter H. There we go.
| | 06:34 | Refresh Preview and everything tumbles in
to place with a cool glow effect. All right!
| | 06:46 | To really see that in action, I've
already made a background that you're
| | 06:51 | welcome to drop in.
| | 06:54 | This was just made using some of the
Presets in After Affects for animated
| | 06:58 | textures, but it will give you a
little bit of a preview and here's what that
| | 07:03 | logo looks like with some
color mixed in. There we go.
| | 07:07 | Now, there's a bunch more titles here
on Lynda.com to help you explore motion
| | 07:11 | graphics workflow, but I think you see,
if you take the time to split that logo
| | 07:14 | file into layers, the task of
animation is really quite a bit simpler.
| | Collapse this transcript |
|
|
5. Gradient WipesUnderstanding the Gradient Wipe effect| 00:00 | One of the most versatile
effects is a Gradient Wipe.
| | 00:03 | Essentially, it uses a custom gradient
layer that you create in Photoshop to
| | 00:08 | reveal or transition an element on.
| | 00:10 | This exists both as a transition
effect that can be applied between clips, as
| | 00:15 | well as an effect that can
be applied to an entire clip.
| | 00:18 | Now, the options that are available
will vary by manufacture of each NLE or
| | 00:22 | motion graphics tool, but you can find
all sorts of creative ways of using this
| | 00:26 | to reveal contents in an animation.
| | 00:29 | Let's take a look inside of Premiere Pro.
| | 00:32 | I've got a text layer over a
motion graphics background.
| | 00:36 | I'll apply the Gradient
Wipe to that top text layer.
| | 00:41 | Nothing seems to happen at first, but if
you look at the effect controls, you'll
| | 00:46 | see the ability to choose the gradient layer.
| | 00:49 | So I need to add the gradient into my
composition here and put it on a new
| | 00:56 | layer, and I'll trim it so
it's the duration of my clip.
| | 00:59 | Now, I can leave that turned off if I
want to use it and simply target it here.
| | 01:07 | So now that I've got that selected, I
can use the Transition Complete Property,
| | 01:14 | starting at 100% Complete and
revealing over time, down to 0% Complete.
| | 01:25 | If I play that, you'll see it seems a
little choppy at first, but essentially
| | 01:32 | this cloudy gradient was
being used to reveal things.
| | 01:36 | The real secret is to tweak the softness.
| | 01:40 | So now I have a nice, gentle transition that
gives me an irregular reveal for that text.
| | 01:48 | I've done the same thing over
here in Adobe After Effects.
| | 01:51 | In this case our custom gradient is
this sort of ink's blot, and using that
| | 01:59 | repeatedly on all of these layers, you'll
notice that each one has a Gradient Wipe.
| | 02:05 | In fact, the same Gradient Wipe just
at different times as it transitions on.
| | 02:13 | Let's turn off the 3D Camera for a
second and you'll see that the layers
| | 02:19 | are being revealed.
| | 02:21 | However, using the 3D Camera I can go
ahead and float across the surface of this
| | 02:28 | photo; and you'll see in this case that
using that Gradient Wipe that we softly
| | 02:34 | reveal the different pieces and using an
irregular organic type wipe I'm able to
| | 02:41 | gently reveal different aspects of the photo.
| | 02:44 | So instead of a simple fade, the ink
seems to emerge from the surface of the paper.
| | 02:51 | And by cutting the photo up into
different pieces, we're able to create a very
| | 02:56 | interesting transition for this
historical documentary, taking a simple photo
| | 03:02 | and revealing its pieces over time
to create a more interesting element.
| | 03:08 | We can now watch this play back in real-
time once the frames have been cached.
| | 03:14 | Here is the effect.
| | 03:15 | A little bit of movement, the camera
tracks up, and we reveal the different
| | 03:23 | pieces of the photo with the soft Gradient Wipe.
| | 03:27 | There we go, a very nice
and organic looking effect!
| | 03:36 | Okay, now that you have the basic idea
on what this can do, let's explore the
| | 03:43 | specific techniques that are
necessary to get the desired end results.
| | Collapse this transcript |
| Creating custom gradients| 00:00 | In order to pull off the Gradient
Wipe effect, you're going to want a nice
| | 00:04 | collection of gradients.
| | 00:05 | Now, you can make these all by hand
using the Gradient Tool or the Paintbrush,
| | 00:09 | or you can get a jumpstart.
| | 00:11 | I want to show you a couple of ways
to build up your collection quickly.
| | 00:15 | First off, let's start with some free textures.
| | 00:19 | One website that has a bunch of
plug-ins is called The Plugin Site.
| | 00:23 | I'll go ahead and click Download and
this will take me to the Download Form.
| | 00:28 | Fill in your e-mail and choose to
download the free pack called Harry's Gradients.
| | 00:34 | When you do this, you'll find a whole
collection of gradients that are designed
| | 00:37 | specifically for all sorts of effects.
| | 00:40 | This is one of my favorite here.
| | 00:43 | Let's open this up into Photoshop.
| | 00:45 | This creates a very cool effect.
| | 00:47 | Notice it starts at black and ends in
white, and you can see that it's going to
| | 00:51 | make an animated paintbrush stroke that
goes across the screen and wipes on to
| | 00:58 | reveal the content, much like
somebody scrubbing a window.
| | 01:02 | You'll find several other ones,
including circles and wipes, very organic ones,
| | 01:07 | cloud textures, all sorts of
transitions; and again, this is a free download,
| | 01:13 | that's a fun place to start.
| | 01:16 | If you're looking to build your own from
scratch, I've included a few texture files.
| | 01:21 | You can go ahead and open these up with
Photoshop and what you'll want to do is
| | 01:25 | play with the darkness values.
| | 01:28 | Ultimately, I recommend that you do a
Levels Adjustment and you clip it so
| | 01:34 | you have a nice, pure black somewhere in
the image and a nice bright white elsewhere.
| | 01:41 | You could then adjust the middle
slider to create the transition zone.
| | 01:47 | If that doesn't feel like it's going to
be soft enough, remember, you can always
| | 01:51 | soften it in the effect; or with the
layer selected simply run a very gentle
| | 01:57 | blur on the background, and that
could give you a nice, simple texture.
| | 02:04 | That looks pretty good!
| | 02:07 | Come back to the Levels Adjustment there,
pop the blacks, pop the whites. Looks good!
| | 02:16 | And I could either call it done, or go
as far as introducing a Gradient Overlay.
| | 02:22 | Just click down here and add the
Gradient Layer, and you can go from black to
| | 02:27 | white or black to transparent, and
remember you can adjust the angles as well as
| | 02:34 | the position to further modify it.
| | 02:37 | When you're satisfied, save
that out as a flatten file.
| | 02:42 | I'll go ahead here and just rename this, Test1.
| | 02:48 | I'll save that as a JPEG in
this case, so it's a flatten file.
| | 02:55 | High Quality and click OK.
| | 02:57 | All right, I'll close those out and what I
have here is a nice collection of textures.
| | 03:05 | I have both the ones that I've created,
as well as some extra source material
| | 03:09 | that can be played with, and
those ones that I downloaded.
| | 03:12 | Remember, just a simple
transition from black to white.
| | 03:16 | You can use filters.
| | 03:17 | You can use photos. It doesn't matter.
| | 03:20 | The key here is to have some
options so you can experiment and get the
| | 03:24 | desired results.
| | Collapse this transcript |
| Loading gradients| 00:00 | Now that the files are prepped, I want
to go ahead and bring those in to the
| | 00:03 | nonlinear editing tool to
make it easier to work with.
| | 00:06 | You could choose to go ahead and use a
series of nested folders or just import directly.
| | 00:11 | I've got a project here and all I've done is
I've put a text layer in with the Gradient Wipe.
| | 00:18 | This is the same demo file I was
looking at earlier, but you can use your
| | 00:22 | own assets as well.
| | 00:25 | Let's go ahead and start
to bring in some assets.
| | 00:28 | I'll make a new folder and
I'll call it "Wipes". Open that up.
| | 00:39 | Let's go ahead and import a folder.
| | 00:41 | I'll select the first folder there and
click Import Folder to bring them all in.
| | 00:48 | If you get an error like this, you
might need to fix the files very quickly.
| | 00:53 | I'll just come on over to Photoshop,
choose File>Scripts>Image Processor.
| | 01:00 | This allows you to choose the folder
that you want to process, and you can even
| | 01:04 | choose to write them out.
| | 01:06 | I'll convert these to TIFFs and
I'll just run that real quick.
| | 01:16 | Some applications can be a bit picky if
it's not happy with the files. There we go.
| | 01:25 | Let's try bringing those in.
| | 01:26 | It looks like many of them did come in,
but I'll just bring it in one more time.
| | 01:35 | There are the TIFF files, and I'll
click Open, and they came in just fine.
| | 01:42 | So either way, it looks like the error
wasn't critical but I can reprocess those
| | 01:46 | so they work better.
| | 01:47 | Let's just go ahead and grab the next folder.
| | 01:51 | There are the painted textures that I had.
| | 01:56 | I'm not going to worry
about the header error there.
| | 01:58 | It seems like they came in just fine.
| | 02:01 | Let's go ahead and grab the Gradient
Wipe and the test file that we made, and
| | 02:07 | those imported nicely.
| | 02:08 | All right, I've got those in their own
folder, and what I want to do is start to
| | 02:15 | work with those within my project.
| | 02:17 | When we come back, we'll take a look at
how to try the different options out and
| | 02:23 | we'll experiment with the Gradient Wipe.
| | Collapse this transcript |
| Adjusting transition controls| 00:00 | Now that we have those gradients
imported into the project, let's experiment
| | 00:04 | with a few of them and see how they look.
| | 00:07 | This sample project has two layers;
| | 00:09 | one is just a piece of text that's being
revealed with the Gradient Wipe effect.
| | 00:15 | On Video track 3, I have the actual
gradient being used that's controlling it.
| | 00:20 | Remember, the Gradient Wipe in this
case is being controlled by the individual
| | 00:26 | Transition Complete
Property and the Softness Property.
| | 00:30 | This effect may vary slightly from
motion graphics tool to different NLEs,
| | 00:35 | but they still behave pretty much the same
using a Transition Slider and a Softness Slider.
| | 00:41 | All right, let's start to drop those gradients
in and we'll just experiment. There they are.
| | 00:51 | Here is that custom one we created.
| | 00:55 | I could turn it off.
| | 00:58 | And there is that wipe.
| | 01:01 | Now, it seems a bit harsh so what I want to
do is adjust the Softness. Let's have a look.
| | 01:12 | It does a nice reveal from the
outside and resolves to the middle.
| | 01:18 | Remember, you can also click Invert
Gradient if you'd like to opposite wipe.
| | 01:22 | In this case it's going to build
from the middle and emanate outwards.
| | 01:26 | That looks pretty good!
| | 01:30 | Let's try a different one.
| | 01:31 | I'm going to go into that HarrysGrads
Folder, switch this over to Thumbnail View
| | 01:36 | and let's try out that
window washer one we saw earlier.
| | 01:40 | There it is, "Cleaning".
| | 01:44 | Just delete this and pull it down.
| | 01:50 | Let's see how it works.
| | 01:55 | Now, that looks nice.
| | 01:56 | It's a little too soft though, so
I'll turn down the Softness so we have
| | 02:01 | a harder edge wipe. Let's have a look.
| | 02:07 | Sure enough, it goes from one edge to
the next, much like a window cleaner,
| | 02:11 | revealing the individual characters.
| | 02:15 | That's because we go from black to
white with the gentle gradient in between
| | 02:20 | making this rough selection as it wipes on down.
| | 02:23 | As you continue to experiment, you'll
see there's a whole range of images.
| | 02:29 | So here is an option for a
simple four gradient sweep.
| | 02:36 | Let's turn that off.
| | 02:36 | There is the reveal, and this is a
great opportunity to go ahead and tweak the
| | 02:44 | Softness a little bit.
| | 02:46 | I'll Invert it, and let's try that.
| | 02:49 | There you go, a very cool effect!
| | 02:55 | You're welcome to continue to
experiment with some of the many gradients
| | 02:58 | that you have, as well as take a look at
some of the other options and build your own.
| | 03:03 | These controls are very straightforward
and what I generally recommend is that
| | 03:09 | you just take a look at the properties.
| | 03:12 | The major ones to use are the
Softness, as well as Inverting it, and if
| | 03:20 | necessary you can go ahead and Tile or
Stretch the gradient to get a different look.
| | 03:26 | Here is that simple sort
of reveal with a Spiral.
| | 03:34 | Let's go with something a little
bit more harder edged. There we go.
| | 03:49 | We've got that deliberate area where it
wipes and reveals with a series of diagonals.
| | 03:54 | Premiere only offers this as an effect
that you could apply to an entire clip,
| | 03:58 | but if you put the clip on an upper
track, you can reveal something down below.
| | 04:02 | Other nonlinear editing tools may
offer this as a transition between clips,
| | 04:06 | which opens up a whole new world as well.
| | 04:08 | I think you'll find that the Gradient
Wipe is one of the most versatile effects,
| | 04:11 | and now that you know how to go into
Photoshop and tweak or even make your own
| | 04:15 | gradients, a whole new
opportunity lays in front of you.
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|
|
6. Correcting Lens DistortionSending footage to Photoshop| 00:00 | While you'll find perfectly robust
tools for things like color correction right
| | 00:03 | inside nonlinear editing tools like
Premiere Pro, there are times that you're
| | 00:08 | going to want to send a clip over to Photoshop.
| | 00:10 | One of those is for lens correction.
| | 00:12 | So if you're shooting with wide angle
lenses or you just have some general
| | 00:15 | distortion, which really all lenses
create, you could send the clips out and
| | 00:20 | take advantage of advanced
controls to repair the shot.
| | 00:23 | Let's take a look at going ahead and
getting a clip out of an NLE into Photoshop.
| | 00:29 | So I'm in a timeline here and I've
got a couple of shots and I just want to
| | 00:33 | show you how easy it is.
| | 00:34 | First off, if you want to, you could
always just mark out a region for a clip.
| | 00:39 | So if you just want to do just the
shot that's used in the timeline, you can
| | 00:43 | mark an in and an out and
choose File>Export>Media.
| | 00:52 | In this case, I recommend you just click
the Match Sequence Settings options and
| | 00:56 | it will go ahead and
convert to the Sequence Settings.
| | 00:59 | Although keep in mind that a lot of
times the Sequence Settings may be using
| | 01:03 | preview quality files and that
could lower the quality of the clip.
| | 01:08 | More typically, you just want to
reveal the file, so you could right-click on
| | 01:12 | the clip in the Bin and
choose to reveal it in the project.
| | 01:18 | There we go, Reveal in Project.
| | 01:22 | It finds it and then I could go ahead
and Reveal in Explorer or Reveal in Finder
| | 01:28 | and it will send out to the clip,
where you can then locate it and choose to
| | 01:32 | open that up with Photoshop CS6.
| | 01:38 | Now, that works great, but I want to
show you a way of sort of overriding this.
| | 01:43 | If I go into Bridge, I can actually
change my preferences for how clips behave.
| | 01:50 | Let's go ahead and locate
a video file. There we go.
| | 01:55 | What I want to do is
adjust what this opens with.
| | 01:58 | So you notice "Open with
Photoshop CS6" is a choice.
| | 02:03 | What I want to do now is
actually change my preferences.
| | 02:08 | What I can do is change
the File Type Association.
| | 02:11 | So I'm going to select the movie file,
there it is, QuickTime movie, and instead
| | 02:20 | of it trying to open up with Windows
Media Player or QuickTime, I'll just
| | 02:24 | associate that with Photoshop CS6, and click OK.
| | 02:31 | Now, we've changed the Bridge preference
so when we choose to open this, it does
| | 02:36 | send it over to Photoshop
directly, so that works nicely.
| | 02:39 | What I'd like to do though is
actually override it at a system level too.
| | 02:44 | So I'll go ahead and Reveal this in
the Explorer and I'll right-click on the
| | 02:48 | clip and I'll choose "Open With".
| | 02:51 | I'm going to choose the default program.
| | 02:54 | In this case, I'll say Photoshop.
| | 02:56 | On a Mac this process is very similar.
| | 02:59 | You would select a file, choose "Get Info",
and then you could change the default
| | 03:05 | type that you would open the file with.
| | 03:07 | So there we ago, I've
updated it. I'll click OK.
| | 03:11 | Now I've made this task much easier.
| | 03:14 | So in Premiere, let's check this
for all of the major file types.
| | 03:20 | I'll Reveal this in the
Explorer. This is an MP4.
| | 03:23 | I see that it's set to Open
up With Windows Media Player.
| | 03:26 | By changing the default format here,
if we say "Open With", I can now Browse,
| | 03:34 | locate the application, and force
it that Photoshop is going to be the
| | 03:41 | default application used. There it is.
| | 03:45 | So we've taken the most common file
types, MOV and MP4, and going forward we'll
| | 03:51 | have the easy ability to just
select a clip in a sequence and edit it.
| | 04:00 | Right-click, Edit Original,
sends it to Photoshop.
| | 04:04 | Same thing here, other sequence, right-
click, Edit Original, opens in Photoshop.
| | 04:12 | So we've made that much easier.
| | 04:15 | So to recap, really three workflows.
| | 04:18 | Within your editing tool you can always
right-click on a clip and reveal it in
| | 04:22 | the Explorer or the Finder.
| | 04:25 | If you'd like to make a more
permanent change, you can also right-click on
| | 04:29 | the clips and change how they "Open
With" by setting the default program; and
| | 04:35 | that will then make it much easier to invoke the
Edit Original command within your editing tool.
| | 04:40 | Additionally, I recommend that
you go into Bridge and you modify
| | 04:45 | Bridge's Preferences so that
QuickTime movies and MPEG-4 files are
| | 04:49 | associated with QuickTime.
| | 04:51 | You can go ahead and choose which app
is going to be used, and you may need to
| | 04:56 | browse, but it's pretty easy to go
ahead and override that so that Photoshop
| | 05:02 | becomes the target for
advanced editing controls.
| | 05:05 | So pretty straightforward!
| | 05:07 | It's really a matter of if you want
to adjust it one time or make a global
| | 05:11 | change, but in any case all you
really need to do is find the file and tell
| | 05:17 | Photoshop to open it.
| | 05:18 | If you're using Photoshop Extended
or Photoshop CS6 or newer, this will
| | 05:22 | automatically open up the video file
into Photoshop, where it's ready to
| | 05:26 | be processed.
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| Fixing lens correction automatically| 00:00 | The current version of Photoshop offers
two tools for correcting lens distortion.
| | 00:04 | Let's take a look at the older tool,
which has some automatic features.
| | 00:08 | You can run this on stills or video
and it does a great job of pulling out
| | 00:12 | basic lens distortion.
| | 00:13 | I've got two photos here,
| | 00:16 | let's just open those up with Photoshop.
| | 00:20 | This particular one is raw, and first
off I'll show you that the tools are
| | 00:26 | available in the Camera Raw dialog box.
| | 00:30 | When developing a raw file, before you
open it, I would highly recommend you
| | 00:35 | switch on over here to the Lens Corrections tab.
| | 00:38 | This allows you to Enable the Lens
Profile Correction and you see there that
| | 00:43 | quite a bit happens.
| | 00:45 | The metadata for the file tells you
the manufacturer, as well as the specific
| | 00:49 | model of the camera and lens that was
used. And you can see that it's fixing
| | 00:54 | a lot of distortion,
| | 00:56 | in this case straightening the horizon line
that was starting to bend by the image itself.
| | 01:02 | If you're shooting on a DSLR video
camera and you know the lens and the model,
| | 01:06 | you won't find the metadata
necessarily embedded, but you can go through and
| | 01:10 | match the popular formats of the
cameras and lenses to fix things.
| | 01:15 | Additionally, Adobe does offer a
tool for creating your own custom lens
| | 01:19 | profiles that can be used with any
camera and lens combination and that's
| | 01:23 | available on Adobe's website.
| | 01:26 | Now, this correction can also be
overwritten so you could manually go through
| | 01:30 | and adjust if you need to, but you see
it does a great job of fixing distortion
| | 01:35 | within the image and you could take
advantage of problems like lens vignetting
| | 01:39 | if you're getting unwanted
darkening or brightening at the edges.
| | 01:43 | Usually it's going to be a darkening
amount which is caused by the hood of the
| | 01:47 | lens and this allows you to fix that.
| | 01:49 | All right, that looks great, and I
Open the Object and it will send it into
| | 01:53 | Photoshop with the correction applied.
| | 01:55 | If you're dealing with a video file
or a photo, you can manually invoke
| | 01:59 | this command as well.
| | 02:01 | I recommend that you Convert for Smart Filters.
| | 02:05 | Once I've done the Smart Filter, I'll
choose Lens Correction, and you'll see
| | 02:11 | here that it was able to recognize the
camera, but it might need some additional
| | 02:14 | information about the type of camera
that was used, as well as the lens.
| | 02:21 | I know I shot this on a 70.0-200.0mm.
| | 02:25 | That auto correction works great and
you'll see that it's automatically scaling
| | 02:29 | the image and turning on the Grid
Overlay can make it more useful.
| | 02:33 | However, all we've done here is
corrected for the distortion that was
| | 02:37 | inherent to the lens.
| | 02:39 | I haven't corrected for distortion
caused by the angle of the photograph, in
| | 02:43 | this case the fact that I was
low angle and a bit off-centered.
| | 02:47 | To do that, we'll need to take a
look at manually correcting, using the
| | 02:51 | Lens Correction Filter.
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| Fine-tuning lens correction| 00:00 | A lot of times when you position
the shot, the camera is going to be
| | 00:04 | off-centered, low angle,
high angle. That's fine.
| | 00:07 | When you take those types of angled
shots, you're going to see some distortion.
| | 00:12 | Now, typically you want this, you're
going for drama, you're putting the camera
| | 00:16 | low to sort of edify your subject, or
going up high to give a sense of grandeur.
| | 00:21 | However, sometimes you get into a post
environment or feedback from the client
| | 00:25 | and the effect is too pronounced.
| | 00:27 | So you can go in and actually
remove a good deal of this with the
| | 00:31 | Lens Correction Filter.
| | 00:32 | However, you're going to have to go
into a manual mode to control it and make
| | 00:36 | some artistic judgments.
| | 00:39 | I've gone ahead and left the image open
from the last exercise and what I have
| | 00:44 | here is a low angle shot of these buildings.
| | 00:46 | By showing the grid, it makes it a lot
easier to see what's happening, but I'm
| | 00:50 | going to make that grid
smaller so there are more squares.
| | 00:54 | This makes it easy for me to see that this
building is not lining up with a straight edge.
| | 00:59 | Now, it won't exactly, because we're
lower angle here, but we can fix this.
| | 01:04 | With the automatic tools, choosing the
correct lens and combination did a great
| | 01:09 | job of fixing the basic distortion at
the edges, but I want to go into the
| | 01:15 | Custom tab and really
take complete control here.
| | 01:20 | If I need to, I can remove
the Geometric Distortion.
| | 01:23 | Now, I think the automatic did a
pretty good job here, but if necessary, I
| | 01:27 | could tweak that a bit.
| | 01:29 | More importantly in this case I
need to adjust some of the perspective.
| | 01:33 | So because the shot was lower angle,
I'm going to adjust the Vertical
| | 01:37 | Perspective, and notice as I drag how
I'm able to compensate for shooting lower
| | 01:45 | angle; and the edge of
that building is now straight.
| | 01:49 | Now, as you do that drag, the picture does
need to scale up and crop a bit automatically.
| | 01:54 | You can adjust that here with the
Scale property if you're okay seeing the
| | 01:58 | edges, but that gives you a good idea of
how the picture has been tilted in 3D space.
| | 02:04 | If you were doing this with a video clip,
you might choose to pad those edges or
| | 02:07 | blur the edges, but with a photo, you
typically have plenty of resolution.
| | 02:12 | Now, I went so far that I
completely removed that perspective.
| | 02:16 | I'm going to split the difference and
put a little bit of it back so it does
| | 02:19 | still look like we're lower angle,
but that it's not as pronounced.
| | 02:24 | Additionally, you can cant the image
from left to right to compensate for
| | 02:28 | horizontal perspective issues if
you feel that you have those as well.
| | 02:32 | Of course there's the Angle tool
allowing you to correct for angles, and you can
| | 02:37 | do this by just drawing a straight line.
| | 02:40 | So if you click and drag on something
that you feel should be straight, the
| | 02:45 | image will automatically rotate off of
that point, using it for orientation.
| | 02:50 | There are lots of other controls for
things like Chromatic Aberration and Vignetting.
| | 02:54 | Chromatic Aberration is going to be
fringing in color that you particularly see
| | 02:58 | at full magnification.
| | 03:00 | It is usually in older
cameras in areas of high contrast.
| | 03:04 | A Vignette however is fairly common,
particularly with hoods or other issues, so
| | 03:08 | you can lighten or darken the
edges if necessary to even it out.
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| Fixing distortion in panoramas with the Adaptive Wide Angle filter| 00:00 | One of my favorite new tools to
come out with Photoshop CS6 was the
| | 00:03 | Adaptive Wide Angle Filter.
| | 00:05 | It's great for removing distortion
caused by wide angle lenses or inherent in
| | 00:10 | tasks like panoramic photos.
| | 00:12 | I use a lot of panoramic photos
for backdrops in my chroma keying.
| | 00:15 | When I'm on location I'll just shoot
large pan vistas to give me more material
| | 00:21 | to work with so I have a lot of
flexibility when designing my compositions.
| | 00:24 | Let me show you how to create a
panoramic image quickly and then remove the
| | 00:28 | distortion that was caused by the lens
and the movement of the camera body as we
| | 00:32 | panned to get the material.
| | 00:34 | Okay, in this case I didn't do a
panning panorama but rather I did a walking
| | 00:39 | panorama with a little bit of
panning, and you'll see that we have some
| | 00:43 | distortion from each image.
| | 00:45 | This R is going to overlap with
this R. This word here in the building
| | 00:50 | overlaps right over here.
| | 00:51 | So you could see that there is
a bit of overlap between these.
| | 00:54 | Let's lasso those and choose Tools>
Photoshop>Photomerge; and this is going to go
| | 01:01 | ahead and combine those together.
| | 01:04 | I could choose to attempt to remove the
Geometric Distortion and this will do an
| | 01:08 | okay job, invoking the previously
seen Lens Correction Filter, but it's not
| | 01:13 | Adaptive Wide Angle.
| | 01:17 | Now, the three pictures are
going to be merged together.
| | 01:19 | Normally when doing a panoramic photo,
I'd recommend shooting vertically, but
| | 01:22 | I was in a hurry here, and you see because I
was in a hurry we have a lot of distortion.
| | 01:29 | Let's go ahead and merge that together
and I'll create a Smart Filter and now
| | 01:36 | run the Adaptive Wide Angle Filter.
| | 01:39 | The Adaptive Wide Angle Filter lets
you take the Constraint Tool here and
| | 01:43 | start to draw lines.
| | 01:45 | As you do, you'll see that it recognizes
the curves and it begins to straighten them.
| | 01:50 | Now, if you've got distortion in
your images or you want to start to bend
| | 01:55 | things, you can completely rotate
these on your own, and as you do that
| | 02:00 | you'll see the green feedback line is
indicating that Photoshop thinks you
| | 02:04 | got things straight.
| | 02:06 | Additionally, however, if I'm dragging
here, notice that this curved line along
| | 02:11 | the bottom, if I Shift+Click on that,
it will force it to be a horizontal or
| | 02:16 | vertical line, snapping to 90 or 180 degrees.
| | 02:20 | If it feels like it's off a
little bit, just rotate the handles.
| | 02:24 | So there's that curve that I don't want.
| | 02:26 | I'll Shift+Click and adjust, and
you see how it does a great job of
| | 02:32 | removing that distortion.
| | 02:34 | Let's take what should be a vertical
line here and Shift+Click and force that.
| | 02:41 | Purple indicates distortion
that Photoshop thinks is wrong.
| | 02:45 | So you will want to go through
and tweak until the lines go green.
| | 02:53 | But that really looks amazing there and I
have a perfect backdrop for my green screen work.
| | 02:59 | Now, we've removed all the distortion,
we've got good clean imagery there.
| | 03:03 | Obviously there's some edge issues, so
I'll just scale that up a bit and click OK.
| | 03:08 | And then over in Photoshop I'd
need to do a bit of cropping.
| | 03:12 | C for Crop, I'll leave that as
Unconstrained, and I can now crop out the
| | 03:19 | image that I want to use.
| | 03:21 | Remember, it's not a big deal to fill
in some of that missing texture quickly.
| | 03:26 | So if you needed a little bit more
information, all I would do is Ctrl+Click to
| | 03:31 | load that there so it's selected.
| | 03:34 | Expand the selection here, we'll Inverse
it, and then make it bigger, so we have
| | 03:41 | a bit of the empty area selected.
| | 03:45 | I can now rasterize this, so the Smart
Filter is permanently applied, and we'll
| | 03:51 | invoke Shift+Delete or Shift+
Backspace and choose the Content-Aware Fill
| | 03:57 | option; and you'll see that Photoshop
analyzes the surrounding pixels and will
| | 04:02 | do its best to fill it in.
| | 04:03 | You may still need to do a little bit
of cloning, but that's pretty amazing how
| | 04:07 | it filled in the missing trees and the
brick and made a better looking image.
| | 04:11 | That's all set to be used as a virtual set.
| | 04:14 | I do see a little bit of
distortion along the bottom there.
| | 04:17 | A few additional passes with the Wide
Angle Filter would refine that, but that's
| | 04:20 | still dramatically better than where it started.
| | 04:22 | Additionally, we could do this on a video clip.
| | 04:26 | So if I Convert this to Smart Filters, I
could run the Adaptive Wide Angle Control.
| | 04:32 | I recommend that you pick some lines
that are in the center of the image first.
| | 04:37 | Here we go, Shift-Click,
and that straightened it.
| | 04:42 | Let's come across the middle here,
Shift+Click, and did a pretty good job.
| | 04:49 | These pillars are bending however.
| | 04:51 | So what I'm going to do is start to pull that.
| | 04:57 | And you see it goes green.
| | 05:03 | You can go through the image as much as
you need to and start to remove any of
| | 05:09 | the distortion that you
feel should be taken out.
| | 05:13 | This was done with a wider angle shot
here on a DSLR and I could definitely see
| | 05:18 | an overall improvement in the image itself.
| | 05:22 | Remember, Shift+Clicking can force
something to be perpendicular or you can
| | 05:25 | manually control it.
| | 05:27 | A lot of times with the lower resolution video
source you may need to go on both sides there.
| | 05:34 | I'll pull that out a bit
so it matches. There we go.
| | 05:39 | When I consider it done, I
could just click to apply it.
| | 05:46 | Now, it's not uncommon for you to
have to use several of these to get the
| | 05:51 | constraints that you want.
| | 05:53 | Remember, you can start to pull
this around a bit to force it.
| | 05:57 | As you play there, you can't go too
far, but that's definitely helping.
| | 06:06 | All of these constraints are alive so
you can go back and continue to refine.
| | 06:10 | When you're done and click OK, the clip
will update and it's in your timeline.
| | 06:15 | This also works nicely when dealing with
wide angle footage, such as from a GoPro Camera.
| | 06:21 | I'll go ahead and Convert for Smart
Filters and run that Adaptive Wide Angle Control.
| | 06:28 | I can now go in and start to tackle
some of these lines and you see how it's
| | 06:34 | doing a nice job of straightening
that tower, so it doesn't look like it's
| | 06:39 | bending in the wind.
| | 06:41 | I could take as many of these lines
as I want to use and continue to add
| | 06:44 | constraints and that really
starts to force some of the image.
| | 06:49 | You can also use things within the
image, such as the path here, and all I'm
| | 06:56 | trying to do is create some
individual perspective lines. There we go.
| | 07:03 | Remember, the green feedback is
Photoshop's way of telling you that it
| | 07:07 | thinks you did a good job.
| | 07:09 | I will often go through and add my
lines first and then tweak them until I
| | 07:15 | start getting the green perspective and this
indicates that the distortion has been removed.
| | 07:22 | So I could toggle that off and
on and see the Before and After;
| | 07:25 | all that's left is rendering.
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| Rendering the video for the NLE| 00:00 | Once you feel the shots are ready to go,
you just need to render them out of
| | 00:04 | Photoshop so you can get new video files.
| | 00:06 | This process is pretty straightforward,
but it lacks some of the ease of use of
| | 00:10 | tools like Adobe After Effects or Premiere Pro.
| | 00:12 | I'll just check my shot by clicking
the mesh here--turning it on, and I can
| | 00:16 | clearly see what sort of fixes
have been done to that shot and the
| | 00:19 | distortion that's in play.
| | 00:21 | If I need to, I may choose to tweak
just a little bit more by grabbing or
| | 00:25 | pulling handles, but I think
we've done a pretty good job here.
| | 00:29 | Pulling that midpoint really snaps things
into play there and just by adjusting it.
| | 00:34 | Now, if you go a little too
far, it may not take a click.
| | 00:38 | So it's really just a matter
of giving it a quick once over.
| | 00:41 | But I think I've made the good changes, I'm
pretty happy with where it all stands here.
| | 00:45 | I think I did a good job
of removing the distortion.
| | 00:48 | Looking at that mesh really gives
me a good idea of what's happening.
| | 00:51 | Let's just fix this last
line here. There we go.
| | 00:58 | That looks great!
| | 00:59 | So what I'm going to do is adjust the scale
to remove the transparent pixels at the edge.
| | 01:04 | If I don't do that, I'll just have
black at my edges, and that's okay too.
| | 01:09 | You might decide, for example, that you'll just
make a still image and clone in that material.
| | 01:15 | I think that's pretty good.
| | 01:16 | I'll click OK, and I'm going to come over
to Photoshop here and make a new video layer.
| | 01:22 | The reason why I'm going to make a New
Video Group here is that I want to clone above.
| | 01:27 | So that puts the layer above. That's great!
| | 01:30 | I'll make an empty layer and adjust
it, so it's the duration of my clip.
| | 01:36 | Now, using the Clone Stamp Tool I can
go ahead and Alt+Click and choose Sample:
| | 01:43 | All Layers and just fill in with cloning
some of those missing pixels. There we go.
| | 01:50 | Now, if this shot pans or moves,
which it does a bit, that may cause some
| | 01:58 | problems within the shot.
| | 02:00 | But I think that's pretty good.
| | 02:01 | Let's drag through and just quickly check.
| | 02:04 | It still looks okay there.
| | 02:06 | That's really outside of the action safe,
and it's just a light blue and a dark overlay.
| | 02:11 | I think it's doing a pretty good job.
| | 02:13 | So I'm ready to render;
| | 02:14 | File>Export>Render Video.
| | 02:19 | This allows me to choose to use the Adobe
Media Encoder, which is generally ideal.
| | 02:22 | I'll go to a QuickTime file and I could
choose JPEG 2000 or High Quality Animation;
| | 02:29 | that works great, or an
Uncompressed file, which is absolutely huge.
| | 02:34 | Animation is really big;
| | 02:36 | Uncompressed is enormous.
| | 02:38 | For most folks JPEG 2000 High Quality
will be a good output, but you can always
| | 02:43 | go over to Adobe Media
Encoder and create new presets.
| | 02:46 | If you'd like to, choosing a DPX image
sequence also makes it easy to render out
| | 02:51 | a series of still frames and then those
can be imported into a nonlinear editor
| | 02:55 | as an image sequence, which will
then reassemble the frames into a movie.
| | 02:59 | In any case, spitting this out allows
you to go ahead and make a new file, and
| | 03:05 | you could choose to do all the frames or
just specify a particular range for the
| | 03:10 | part of the clip you'd like to use.
| | Collapse this transcript |
|
|
7. Using Actions for Video WorkflowsActions panel overview| 00:00 | I'd like to take a quick look at the
Actions Panel, which can really automate
| | 00:03 | some of the tasks that you have in hand.
| | 00:06 | Now, there are some specific video
actions, actions I actually co-wrote, that
| | 00:09 | are designed to save you time and
really cut down on some of the repetitive
| | 00:13 | tasks that video producers and motion
graphic artists need. I only want to
| | 00:17 | touch on a couple of properties here.
| | 00:18 | I have a new set of actions called
Video Actions Version 2 that have been
| | 00:22 | updated, and you can load those, or
if you have the regular Actions Panel
| | 00:27 | loaded, you will find that in the
flyout menu here is the Video Actions set.
| | 00:33 | The two are the same, it's just the
new set adds some extra options for HD.
| | 00:37 | All right, let's go ahead and twirl a
few of these up and we'll take a look at
| | 00:43 | some of the Video Actions.
| | 00:45 | Now, these actions can automate several tasks,
and I'm just expanding this so it's easier.
| | 00:52 | We have the ability to create an
Alpha Channel for our document.
| | 00:55 | We can go ahead and adjust for Broadcast
Safe Luminance and Saturation, although
| | 01:00 | those adjustments are typically only
used for analog formats, such as switchers
| | 01:05 | or tape-based editing.
| | 01:06 | Most video nonlinear editing tools these
days will automatically properly adjust
| | 01:11 | for RGB levels and bring
them into a video safe area.
| | 01:15 | You will find some useful resizing
tools for making Blu-ray Disc and DVD
| | 01:20 | Slideshows, and some options here for
creating Buttons for Adobe Encore as well
| | 01:25 | as add a Title Safe Overlay
and Remove Interlace Flicker.
| | 01:29 | Now, this is the newer expanded set that's
available as part of the course downloads.
| | 01:34 | I also have it posted on my
blog at: richardharringtonblog.
| | 01:38 | The set that ships with Photoshop
still has most of those functionalities;
| | 01:42 | the core things missing are the Blu-
ray set and the Buttons for Encore.
| | 01:47 | Those are the actions.
| | 01:48 | Make sure you get them loaded.
| | 01:49 | When we come back, we're going to
take a look at how to put them into play.
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| Using the Video Actions set| 00:00 | Let's use a couple of these
Video Actions to save some time.
| | 00:03 | I'm going to start by adding a Safe
Title Guide to check my position for text
| | 00:07 | and then create an Alpha
Channel to save the graphic.
| | 00:10 | All right, I have a graphic opened up here.
| | 00:12 | It's pretty straight forward.
| | 00:13 | It's a lower third title.
| | 00:15 | If you don't have the fonts loaded on
your system, don't worry about it, you
| | 00:19 | might see that those fonts
have been replaced. That's okay.
| | 00:23 | What I'm going to do
first is check its position.
| | 00:25 | Now, in this case we do have the Action
Safe Guides that come with the Photoshop
| | 00:30 | templates, but I don't always like
those because they're easy to clear off and
| | 00:34 | sometimes I want to reposition
and use my guides for other tasks.
| | 00:38 | Inside the Actions Panel here, you will
find that there is a Title Safe Overlay action.
| | 00:43 | And by running it you will go ahead and
get an overlay that works for both HD and SD.
| | 00:48 | There we go, there's my action and I
could turn that off and on and clearly see
| | 00:56 | that I've got my text properly placed.
| | 00:59 | Now, I do recommend that before you save
this graphic, you disable that layer by
| | 01:03 | clicking its visibility icon.
| | 01:04 | If you need an Alpha Channel,
you'll find two in here.
| | 01:08 | The Inverted option is
typically used on Avid editing systems;
| | 01:12 | the rest of the world will use a
standard Alpha Channel, not an Inverted one.
| | 01:16 | You could select it and just click
the Play button and it will go ahead and
| | 01:21 | generate the Alpha Channel. Let me click Play.
| | 01:25 | It runs and you see it made the new
Alpha Channel, including the partial
| | 01:31 | transparent areas for the drop
shadow, making a nice clean key.
| | 01:36 | Now, if you make a change to the text,
you'll need to throw that away and then
| | 01:40 | rerun the action again so it updates.
| | 01:42 | This is an action I use a lot, so I'll
typically double-click on it and assign
| | 01:47 | it to one of my function keys.
| | 01:49 | You could assign it to F2 through F12.
| | 01:52 | If your keyboard has more
function keys you can use those as well.
| | 01:54 | Or make it use the modifier keys of
Shift+Ctrl or Shift+Command on the Mac.
| | 02:01 | This means you can use the function
key with the Shift modifier, the Ctrl
| | 02:06 | modifier, or both modifiers, which
in this case opens up approximately 44
| | 02:12 | different keys that can be mapped.
| | 02:15 | Once you've done that and you click OK,
you'll see that it processes it and it's done.
| | 02:22 | If you don't want that dialog box to
pop up each time, just turn off the little
| | 02:26 | box here for the Stop, because
the Stop contains the instructions.
| | 02:31 | So now in the future pressing F2
simply makes my Alpha Channel action and
| | 02:37 | gives me my channel.
| | 02:38 | I'll throw that away.
| | 02:41 | Additionally, you have actions here to
process several images for a Slideshow.
| | 02:46 | So I'm going to go ahead
and make a Blu-ray Slideshow.
| | 02:50 | I'll select this, and what I
could do is run that action.
| | 02:54 | I'll choose File>Scripts>Image Processor, and
this allows me to select a folder of images.
| | 03:04 | In this case I'm using one called Batch.
| | 03:08 | I could choose to put it in a
Same Location or a New Location.
| | 03:11 | Let's just Make a New Folder.
| | 03:16 |
| | 03:19 | And I could choose to Run the Action,
specifying which set I want to take from
| | 03:26 | and which action I want to use.
| | 03:29 | Adding Copyright Info, and I'm going
to convert this to the TIFF file format.
| | 03:33 | When I click Run, it will process
all of those images and convert them.
| | 03:39 | Now, in this case there is a Stop popping up.
| | 03:42 | If I don't want that, I'll just modify
the action and throw that away and we
| | 03:48 | could rerun that Batch.
| | 03:49 | We'll use the Image Processor.
| | 03:53 | Everything is still targeted from
before, I can click Run, and it will fly
| | 03:58 | through all of those images
doing the resize. There we go.
| | 04:04 | And if I flip on over to Adobe Bridge,
you'll see that those images have
| | 04:08 | been processed and properly sized, in
this case putting padding on the edges
| | 04:14 | so they've been sized to fit on the
television screen without any details
| | 04:19 | being lost or cropped.
| | 04:20 | That's just one way to use the Video
Actions set, there's other ones in there
| | 04:24 | for doing things like Removing
Interlace Flicker or going through and creating
| | 04:28 | Buttons for a DVD or Encore Menu.
| | 04:30 | I think you'll find them useful and I
invite you to continue to explore them.
| | Collapse this transcript |
|
|
8. Advanced Color Grading and EffectsSecondary color correction| 00:00 | While there are many different
applications out there for color correction and
| | 00:03 | color grading, I do like some of the
unique features inside Adobe Photoshop.
| | 00:07 | Let's take a look at how switching
color modes can actually open up some new
| | 00:11 | opportunities, that's really kind of
cool how you can go in and make very
| | 00:15 | specific adjustments.
| | 00:16 | I'm going to open up a shot here and
I'm going to show you how we could do
| | 00:20 | advanced secondary correction.
| | 00:21 | Now, in this case, it's a simple shot.
| | 00:24 | It's actually standard def, but it's
still going to illustrate our clip nicely.
| | 00:28 | And we have a very pronounced truck.
| | 00:30 | This truck is red and I'd
like to change its color.
| | 00:33 | Now, normally, the Image Mode is RGB,
and when you are in RGB Mode, what you'll
| | 00:39 | see is that there is a Red,
Green, and Blue channel.
| | 00:43 | So white areas indicate a
high presence of that color.
| | 00:46 | In this case, there is a lot of red,
but there is not much green in that truck.
| | 00:50 | And what we're going to do is change
the Image Mode into a different space.
| | 00:54 | I'm going to use Lab Color.
| | 00:57 | Now, Lab Color uses one Lightness
channel, which is a grayscale channel, and
| | 01:02 | then the A channel contains the reds
and greens, and the Blue channel contains
| | 01:07 | the blues and yellows.
| | 01:09 | This is going to allow me to do
advanced secondary correction.
| | 01:13 | So let's go ahead and process this.
| | 01:15 | I'll make a curves adjustment here and
I'm going to work with the A channel.
| | 01:20 | Now, what's going to happen is
I'm going to add a control point.
| | 01:24 | Now, I'm going to put one here, right
about there in the red truck, and I'm
| | 01:28 | going to add another one here towards
the middle to keep things from moving.
| | 01:33 | And as I start to pull things down,
notice how it can make a change.
| | 01:40 | Now, the goal here is that I
just want to modify the red.
| | 01:44 | So as we pull, you see the shift.
| | 01:47 | It's pretty pronounced.
| | 01:49 | Now, let's reset that for a second.
| | 01:52 | Let's go ahead and switch on over to
the A channel and I'm just going to add
| | 01:56 | control points in the middle. Here we go.
| | 02:01 | And as I pull down the A channel,
I'm able to remap the color.
| | 02:04 | So it goes from red to
sort of an orangish truck.
| | 02:08 | If I take it up here, you see I could
push that to a hot pink or I could take
| | 02:15 | that down and push it to green.
| | 02:18 | Now, unlike other tools, I didn't have
to make a selection, and if I play this,
| | 02:22 | you'd see that even though it's panning and moving
there is no extra work to do. It's quite simple.
| | 02:31 | Now, what I'm going to do is process
this out as a video file and we could
| | 02:35 | do some advanced work in After Effects so
we can create whatever color truck we wanted.
| | 02:41 | I'll choose File>Export>Render Video.
| | 02:47 | I'll choose a location and I can use
the Adobe Media Encoder to generate a
| | 02:51 | QuickTime movie file.
| | 02:52 | I'm going to stick with JPEG 2000 High
Quality, but there are other options such
| | 02:57 | as Animation Codec or Uncompressed; and
you can make new presets inside Adobe
| | 03:02 | Media Encoder and then load them into Photoshop.
| | 03:04 | Instead of using the frame size for the
document, I want to be very specific,
| | 03:09 | so I am going to target the NTSC D1--
as this is a standard definition shot--and I'm
| | 03:13 | going to go ahead and use this as
an opportunity to get the frame rate
| | 03:16 | conformed to a proper frame rate.
| | 03:18 | You notice the Aspect Ratio is all set--
it's going to treat it as the current
| | 03:22 | progressive output, or if there were
fields I could deal with that here; and I'm
| | 03:26 | going to do all the frames and spit it out.
| | 03:29 | So once it's all targeted, I just click
Render and it will start to write the file.
| | 03:34 | Once that render is done, I'm going
to take the original clip plus this new
| | 03:38 | clip into After Effects.
| | 03:40 | And you see the thing is, is that the two
colors of the truck couldn't be further apart.
| | 03:44 | Using advanced techniques like Different
Maps and Adjustment Layers, we can make
| | 03:48 | whatever color we need and we're
going to do that next with After Effects.
| | Collapse this transcript |
| Advanced secondary color correction with After Effects| 00:00 | Now that we've got the two clips
rendered out, I want to bring those into After
| | 00:04 | Effects and start to do a
little bit of Blend Mode magic.
| | 00:07 | Let's drop those clips into a new composition.
| | 00:10 | There we go, and I'll put it into a
single composition. That looks good.
| | 00:17 | Set this to Full quality.
| | 00:20 | And what I want to do is make sure that
those two clips are right on top of each
| | 00:25 | other, which they are.
| | 00:26 | And you see I could toggle between the red
and the green, which we made over in Photoshop.
| | 00:30 | If you skip the previous movie, make
sure you go back and watch that step.
| | 00:35 | Now, that I've got those two alternate clips,
let's do a little bit of Blend Mode magic.
| | 00:39 | I'm going to take this first clip and
change its blending mode to Difference.
| | 00:49 | Now, you might play with both Difference
and Classic Difference to see which one
| | 00:53 | works better for you.
| | 00:55 | In this case, they look
to be doing about the same.
| | 00:58 | Now, what's necessary is we're
going to strip out the color here and
| | 01:02 | simplify the image a bit.
| | 01:03 | I'll add a new Adjustment Layer and
on that Adjustment Layer, I'll start by
| | 01:10 | doing a black and white conversion.
| | 01:15 | The black and white effect makes
it very easy to add emphasis to the
| | 01:19 | different sections.
| | 01:21 | So I could pull down some of
these other areas. There we go.
| | 01:26 | That's pretty good.
| | 01:29 | What I want to do now is defocus things a bit.
| | 01:34 | So a very slight blur.
| | 01:42 | That's just to get rid of some
of the noise in the background.
| | 01:46 | Once you've done that, you can clip the levels.
| | 01:51 | Now, a simple Levels adjustment will let
us take things that are currently light
| | 01:56 | gray and force them to black.
| | 01:58 | So I could pick up some of those small
areas in the background there like the
| | 02:03 | edge of the trees and some of the flowers.
| | 02:07 | Similarly, I can go ahead and push
what's sort of white and tweak that and
| | 02:14 | you see that it's adjusting it and
then of course move the middle slider
| | 02:17 | there to pick up the truck.
| | 02:19 | All right, that's looking pretty good.
| | 02:22 | Let's just rename that and
we'll call this composition "Mask".
| | 02:29 | I'm going to go ahead and put the
original truck into a new comp and put
| | 02:36 | the mask on top of it.
| | 02:38 | Now, the mask is just going
to serve as a track matte.
| | 02:41 | We'll put a new Adjustment Layer in and
on that Adjustment Layer, I'll use the
| | 02:49 | Hue/Saturation Effect.
| | 02:51 | Now, with the Colorize option, this
makes it very easy to dial in a particular
| | 02:56 | color and a saturation, and of course,
it looks like it's affecting everything
| | 03:01 | here, but that's what that track matte is for.
| | 03:03 | I could choose to use the luma values
of the clip above to mask the effect,
| | 03:10 | which is what I have done here,
and so now I have an orange truck.
| | 03:15 | And that luma mask does a great job of
isolating it and applying the effect only
| | 03:20 | to the areas that were white. There it is.
| | 03:22 | It looks pretty good.
| | 03:23 | Let's do that at Full quality.
| | 03:28 | And you see we've completely isolated that
effect to the areas of the truck that we wanted.
| | 03:35 | Now, what's cool is that
any color can be dialed in.
| | 03:39 | So I can go ahead and use the
Hue option there to roll that.
| | 03:46 | If it's not getting all the areas that
we want, remember, that's where you can
| | 03:50 | come back over to the
mask here, and just tweak it.
| | 03:53 | If I push that a little bit
higher, take that down or up.
| | 03:58 | You see how easy it is to get in
there and start to finesse the mask.
| | 04:04 | Come on back over and you could see it update.
| | 04:07 | So, in that case, it's just a little soft,
so I'll take the blurring down. Here we go.
| | 04:19 | Play with the levels a bit--there--and then
switch back and you see it's doing a nice job.
| | 04:30 | Now, here's what's kind of awesome.
| | 04:32 | With that effect there for hue and
saturation, I could go ahead and keyframe that.
| | 04:37 | So if I want, we can do one full cycle
of all the available colors and as that
| | 04:45 | shot pans, the truck is going to
go through the different colors.
| | 04:50 | Now, if I didn't want that to cycle and
animate, we could instead just have them
| | 04:55 | pop by using a Hold keyframe.
| | 04:58 | Let's take a quick look at
this and let it finish first.
| | 05:00 | So that's a pretty cool effect as we
go through and try out different colors.
| | 05:07 | What I do as well and this is straight
out of broadcast television, is just add
| | 05:11 | some different keyframes along the way.
| | 05:14 | So using this here as the shot pans,
we can instead assign new color values.
| | 05:20 | Perhaps it's the colors that are
available for this year's product launch and if
| | 05:25 | I wanted to get this truck, I'd
have a choice of, say, six colors.
| | 05:30 | By doing this, I can just go on each of
these colors, dial in the value that I want--
| | 05:38 | That looks good--
| | 05:39 | I'll put a little bit different
saturation in; and I'm just going to each one in
| | 05:44 | assigning the value.
| | 05:51 | That looks good; that looks good.
| | 05:57 | Tone that one down a little bit.
| | 05:58 | Let's make that a little more golden
and a little less light, there we go.
| | 06:12 | And you see how easy that is to
dial-in the values that you want.
| | 06:17 | Then for each one of these, all you need
to do is tell it to be a "Hold keyframe".
| | 06:23 | Let's take that nice and green, little
more saturated but darker. There we go.
| | 06:33 | And now, selecting my keyframes, I
could simply tell them, right-click to
| | 06:44 | use the Hold keyframe.
| | 06:46 | So now, as it pans across, it will do
a simple cut showing you the different
| | 06:51 | colors, rather than a slow cycle.
| | 06:54 | That's a very cool way to go ahead and
try out different options and have some
| | 06:58 | really advanced color correction.
| | 07:00 | Now, this is a very specific workflow
here, but those of you who get creative
| | 07:05 | and start to think about how this math
works and the science of compositing, can
| | 07:09 | open up all sorts of new ideas.
| | 07:11 | I look forward to seeing what
you can do with this technique.
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| Black-and-white conversion| 00:00 | If you're looking to do black and
white style video, I absolutely love how
| | 00:04 | Photoshop handles it.
| | 00:05 | You've got much better control
over black and white conversion.
| | 00:09 | Even though you'll have the same black
and white effect inside of After Effects
| | 00:12 | and Premiere, I find that
Photoshop gives you much better feedback.
| | 00:16 | I've opened up some stills here just to
save space, but the technique is exactly
| | 00:20 | the same if you're using footage.
| | 00:22 | I recommend that you use the
Black & White Adjustment Layer.
| | 00:25 | You'll find several presets here
that you could try out that simulate
| | 00:30 | traditional filters that
would be used in the field.
| | 00:33 | What I recommend though is that you
simply reset this and try Auto as a starting
| | 00:38 | point, then use the On Image Tool.
| | 00:42 | The On Image Tool will
intelligently drag the correct slider for you.
| | 00:46 | So if you want to pull a more contrast in
the blue sky there, I could pull that down.
| | 00:50 | And maybe I want the red
rocks here to be a bit brighter.
| | 00:54 | You see how this allows you to go
after the different areas of the image
| | 00:57 | without having to guess. Here it is again.
| | 01:01 | Black & White Adjustment, Auto, and then
using the On Image Tool there, I can go
| | 01:07 | in and start to affect the different area.
| | 01:08 | So pulling down the yellows, looks
pretty well there, but then bringing up the
| | 01:13 | reds in the background.
| | 01:15 | Now, depending on your source image,
some sliders may do very little, like the
| | 01:19 | cyan one here is just affecting the
tips of the horn where the sky was
| | 01:23 | reflecting on them due
to the reflective surface.
| | 01:26 | So this is looking pretty good and I
could play with those sliders to get
| | 01:30 | the right conversion.
| | 01:31 | Additionally, you may want to
experiment with things like the Overlay or Soft
| | 01:36 | Light Blending Mode because it's a
great way to get a bleach bypass look or a
| | 01:40 | high contrast image.
| | Collapse this transcript |
| Using the Spot Color effect| 00:00 | A popular technique that video editors
have used for a long time is a Spot Color
| | 00:04 | Effect where the image is black and
white and one color is left behind.
| | 00:09 | Now, this is often done with complex
selection tools and feathering and masking,
| | 00:13 | it really can take a lot of work.
| | 00:16 | Photoshop on the other hand,
makes it a piece of cake
| | 00:19 | thanks to the Effect and Blending modes.
| | 00:21 | If I add a Black & White Adjustment
Layer here, you'll notice that different
| | 00:26 | areas of this image are being controlled.
| | 00:28 | The red slider affects the bridge of
the nose, while the green slider is
| | 00:32 | affecting the body, and the
yellow, the area under the eyes.
| | 00:36 | Well, if I select the Black & White
Adjustment Layer, I could change its
| | 00:41 | blending mode to either lighten or darken.
| | 00:45 | Take a look at lighten here.
| | 00:46 | As I drag to the right,
those areas become lightened.
| | 00:51 | To the left, those colors are left behind.
| | 00:55 | So I can go ahead and leave just
the red on the bridge of the nose.
| | 01:01 | That's really kind of cool, plus there
is a mask attached, so you could use your
| | 01:05 | Paintbrush tools to refine it.
| | 01:07 | Now, let's try this on a
moving piece of footage.
| | 01:10 | I'm going to add the Black & White
Adjustment Layer and change it to Lighten
| | 01:14 | Mode and leave the Reds, but
pull down all the other colors.
| | 01:23 | You'll notice that the red is left,
while all the other colors are removed.
| | 01:27 | Additionally, you can experiment with Darken
Mode and you'll see it behaves a bit differently.
| | 01:33 | Drag to the right to leave the reds and
then pull to the left to strip out the
| | 01:37 | rest of the color and you see
that it starts to come down.
| | 01:41 | So they are really the same concept.
| | 01:42 | One just makes it lighter black and white
image while the other makes a darker one.
| | 01:47 | But this is a very easy
technique for pulling off spot colors.
| | 01:51 | Remember, Lighten or Darken Mode--
let's try Darken here--and as I drag to the
| | 01:58 | right in this case, the color stays.
| | 02:00 | Drag to the left, the color comes out, and that
makes it really easy to pull off a Spot Effect.
| | 02:07 | So, I hope you like that and give
that some use in your next project.
| | Collapse this transcript |
| Using Photoshop filters on a video clip| 00:00 | When it comes to filters, Photoshop is king.
| | 00:03 | There are lots built-in and an even more
extensive collection of third-party tools.
| | 00:08 | And just about every filter
can be run on a video clip.
| | 00:11 | Not all of them, but most of them.
| | 00:13 | To run a filter on a clip, right-
click on the name and you can go ahead and
| | 00:17 | convert it to a Smart Object.
| | 00:19 | You can also do that under the Filter
Menu by choosing Convert for Smart Filters.
| | 00:23 | This now allows you to start to apply filters.
| | 00:27 | So for example, let's take a look here
at the Stylize and I'll do Find Edges.
| | 00:33 | Now, in this case, that's a very pronounced
effect, but what I want to do is blend it.
| | 00:38 | So, double-clicking on the blending
arrows opens this up and I could try
| | 00:42 | things like Multiply.
| | 00:44 | Doing so, left the white areas
knocked out, but put more intensity into
| | 00:51 | the clips and did a great job of
finding the edges and giving it a bit of
| | 00:55 | an illustration look.
| | 00:56 | Remember, besides changing the Blend Mode,
you can also adjust the Opacity to taste.
| | 01:01 | So, that's pretty cool effect
and let's take a look at some more.
| | 01:07 | One of the things I like is to use
a Radial Blur and then blend that.
| | 01:18 | Let's go with a Overlay, or perhaps a
Screen Mode at a lower opacity, and this
| | 01:26 | creates what's often referred to as God rays.
| | 01:30 | And you see we have almost an emanating
light source coming off of our vehicle
| | 01:36 | creating a nice sort of
blur and a light highlight.
| | 01:41 | Now, all of these could be controlled
and you can change your mind if you decide you
| | 01:45 | want to get rid of a filter,
just drag it in the Trash.
| | 01:48 | And remember, there are tons of other filters.
| | 01:50 | Now, many of these are hidden because
they are up here in the Filter Gallery.
| | 01:54 | If you go into your Preferences, one
of the things you could do is tell it
| | 01:58 | to show all of those.
| | 02:01 | I'll go into Plug-Ins and say, "Show
all Filter Gallery groups and names".
| | 02:06 | This makes it easier to see and
discover the rest of these filters.
| | 02:11 | So, you can go ahead into things like
Brush Strokes if you'd like or some of
| | 02:15 | the Sketch Filters.
| | 02:17 | Let's take a look at Water Paper
here, and you see how easy this is.
| | 02:21 | Another popular option is a Halftone Pattern.
| | 02:24 | Now, remember the Halftone Pattern
goes off with the colors you have loaded.
| | 02:28 | So, if you want that newspaper look,
load up black and white or perhaps
| | 02:32 | a slightly off-white. Here we go.
| | 02:36 | Put the yellowish tint in there.
| | 02:40 | And now when I run that, Halftone
Pattern, you see you completely have that
| | 02:47 | straight from the newspaper look.
| | 02:48 | You could adjust the size of the dots.
| | 02:52 | You could change between dots and
circles and lines, that's sort of a retro look
| | 02:57 | from early albums in the 60s or a scan line-
look for surveillance video. There we go.
| | 03:04 | If I use the greenish tint that
would look straight off of a surveillance
| | 03:07 | camera. Going back to the Circle
Pattern or the Dot Pattern in this case--
| | 03:14 | I really like that--it looks like
it's straight out of a newspaper.
| | 03:17 | So, if I wanted to do a car ad that looks
like it was coming in the Sunday paper,
| | 03:22 | notice how flexible that is, and
remember, you have total control there, so you
| | 03:27 | can always double-click and blend it.
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| Creating a digital painting| 00:00 | Because Photoshop supports layers as
well as adjustment layers, it's very easy
| | 00:05 | to create a composite image
that looks like an actual painting.
| | 00:09 | Many people use Photoshop as a digital
canvas and I find that I could apply the
| | 00:13 | same techniques using a video source file.
| | 00:15 | I've got my initial video clip here
and it's just a shot of San Francisco
| | 00:20 | with the cable car.
| | 00:22 | To start, I'll convert
that clip to a Smart Object.
| | 00:26 | There is a new filter called Oil
Paint which is very nice--inside of
| | 00:32 | Photoshop CS6 or newer.
| | 00:34 | This allows you to adjust the
amount of style, the Cleanliness for the
| | 00:38 | individual lines, so they
are very gritty or very smooth.
| | 00:43 | I generally prefer a smoother look,
and then I can adjust the Scale of the
| | 00:47 | strokes and how much details in the bristles.
| | 00:50 | Now, you see there a little or a lot.
| | 00:53 | It's really up to you.
| | 00:55 | I could adjust the Shine to give
it a nice surface, and play with the
| | 01:01 | direction of the stroke.
| | 01:03 | Now, I like that and I'll
click OK, but it is way too strong.
| | 01:07 | And that's where blending comes into play.
| | 01:11 | Remember, using things like Overlay or
Soft Light, can really start to bring
| | 01:15 | back some of the original details,
without blowing them all apart, while you still
| | 01:20 | see the effect preserved.
| | 01:23 | I like Overlay there and I'll set that
to just a little bit lower, maybe 80%
| | 01:28 | Opacity and click OK.
| | 01:30 | And you see we're getting a cool
stroke look for paint without it looking
| | 01:35 | completely artificial.
| | 01:37 | Now, it's skipping a few frames
because that's a pretty processor intensive
| | 01:41 | effect, but that's all right.
| | 01:44 | I'll put a Curves Adjustment in
here and just do an Auto Curve.
| | 01:47 | That looks pretty good there, and
let's start to add some textures.
| | 01:53 | Putting a new track above for the
video group allows me to start to
| | 01:58 | stack multiple layers.
| | 02:01 | Now, I have some textures from before
and these are just actual painted textures.
| | 02:05 | I'll select it and copy it.
| | 02:07 | What you are seeing here is a
photograph of a painted texture.
| | 02:15 | This one looks pretty good. Copy, paste.
| | 02:19 | And I could adjust that to the right
duration and use Free Transform to position it.
| | 02:29 | Now, in this case, it's pretty big, so
I'll simplify that texture down a bit by
| | 02:33 | making it a bit smaller,
and change its Blend Mode.
| | 02:38 | Easiest way to do that is select the Move
Tool and use the keyboard shortcut of Shift++.
| | 02:44 | This will allow you to step through
your different blending modes and you see
| | 02:48 | that it starts to mix the texture in
with the image itself. I like Overlay.
| | 02:53 | Soft Light looks pretty good.
| | 02:55 | Let's go back around the horn.
| | 02:56 | I think I like some of the earlier ones,
and that feels pretty good with lighter color.
| | 03:07 | I think Overlay is the winner.
| | 03:09 | We're getting a nice texture in
there without it feeling too artificial.
| | 03:14 | Now, to complete this look, I'm
going to put a few other effects.
| | 03:19 | I'll put a Black & White Adjustment
Layer and I'll actually put that right
| | 03:23 | above the video itself. There we go.
| | 03:30 | Putting that into Overlay Mode or
Soft Light can punch up the colors a bit.
| | 03:37 | That's looking good.
| | 03:38 | I like the higher contrast in the blacks.
| | 03:41 | And then I am going to finish this out.
| | 03:43 | I'll put one more video group in.
| | 03:45 | And this time, add a Gradient.
| | 03:47 | Now, the benefit of the gradient here
is I'll do a Radial Gradient, and tell it
| | 03:56 | to go towards the center.
| | 04:02 | Nice vignette at the edges.
| | 04:03 | Put that in Multiply Mode and we have our look.
| | 04:07 | Now, there's lots of
things you could play with here.
| | 04:10 | The big thing I want you realize is
that by using smart filters--effects like
| | 04:16 | the Oil Paint Filter or the Sketch
category and your own actual textures, you can
| | 04:21 | lay in a cool paper or canvas texture--
you can lay in really good effects
| | 04:27 | and by the time you're done, you've got
a very complex look to a stylized clip.
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|
|
9. Enhancing Depth of FieldThe Lens Blur effect in Photoshop| 00:00 | One technique I need to
frequently employ is the use of Lens Blur.
| | 00:04 | This is because I often want to control
the Depth of Field within my photographs.
| | 00:08 | I find if I'm given photos by a
client or stock footage or clips that, oftentimes,
| | 00:13 | the depth of field is
much deeper than I'd like.
| | 00:16 | I like a shallow depth of field to
control the narrative, and Photoshop offers
| | 00:20 | some great tools to control this.
| | 00:24 | Here's a shot and the depth of field
is pretty good, but I'd like to go ahead
| | 00:28 | and push this out a bit more.
| | 00:29 | All right, because this effect
doesn't work as a smart filter, I'm going to
| | 00:33 | duplicate the layer and I'll
choose Filter>Blur>Lens Blur.
| | 00:40 | This allows me to start to push the
radius of the blurring a bit and you see
| | 00:45 | that it does a very photorealistic look.
| | 00:49 | Adjusting the radius will start to push
the image out more and you notice that
| | 00:53 | you can get a very simplified image.
| | 00:56 | What I like about this blur that you
don't see in other images is that the grain
| | 01:00 | structure is still preserved.
| | 01:02 | You could have color noise or
monochromatic noise and control the Amounts.
| | 01:08 | So even though you defocus the image,
it doesn't look like a digital blur.
| | 01:13 | You also have the ability
to add Specular Highlights.
| | 01:16 | So you could adjust the Threshold so
the brighter areas start to bloom, much
| | 01:21 | like a real camera would.
| | 01:23 | So in this case, I defocused the
background and the foreground, but a quick
| | 01:28 | mask will isolate it.
| | 01:30 | I'll take the Quick Selection Tool and
just draw to select my area. There we go.
| | 01:39 | You see it does a great job with that selection.
| | 01:44 | It doesn't have to be perfect. There we go.
| | 01:49 | Alt key will subtract, there.
| | 01:51 |
| | 01:57 | Now, I've got my basic selection.
| | 02:00 | Let's go ahead and Refine the
edge real quick. That looks good.
| | 02:05 | I'll use Smart Radius and adjust that
so it analyzes a bit. That looks good.
| | 02:12 | Smooth that out a bit and
I'll output that as a Layer Mask.
| | 02:16 | So now, we could simply put the masked
photo on top of the blurred photo and
| | 02:25 | what I've been able to do is further
push the background out of focus--
| | 02:29 | simple masking technique.
| | 02:30 | If you don't want to do it with masks,
you can also do it using an Alpha
| | 02:35 | Channel, which is what I have here.
| | 02:36 | I masked out the foreground robots
because I don't have the rights to show
| | 02:40 | the robot in the back.
| | 02:42 | So I'll go ahead here and choose Filter
>Blur>Lens Blur, and this allows me to
| | 02:50 | choose an Alpha Channel as a Source.
| | 02:54 | So now, everything outside of
that Alpha channel can be blurred;
| | 03:00 | pushing it into non-recognition, or
just enough that we could put a little bit
| | 03:06 | of specular highlights back
there and have it blow out.
| | 03:09 | And again, that Noise option is great,
you don't want to overdo it, but it does
| | 03:14 | allow you to match the grain structure
of the image; and you see there we have
| | 03:19 | total control over the image itself.
| | 03:21 | Now, it looks like my Alpha Channel is
cutting into a little bit of the hand
| | 03:25 | there so I'll hit Cancel for a
second and call up my Channel.
| | 03:29 | Remember, the Alpha Channel is easy,
all it is, is a saved selection.
| | 03:35 | So if you need to, you could take your
Paintbrush Tool and I can click on the
| | 03:39 | Alpha here, and I'm just going to paint
with black and that allows me to define
| | 03:44 | what's going to stay in focus.
| | 03:47 | So using your Paintbrush, you can create a mask
or your Quick Selection Tool or anything else.
| | 03:52 | That worked great.
| | 03:54 | Let's run that filter
again, Filter>Blur>Lens Blur.
| | 04:02 | Choose my Alpha channel, adjust the
Radius, and I could go ahead and put a
| | 04:12 | little bit of highlights in there.
| | 04:14 | That's looking pretty good.
| | 04:17 | Now, this focal distance allows you to
refine what's in focus and what's out.
| | 04:22 | So you see you can almost do a rack
focus in between and find the correct point
| | 04:27 | that you want to really
refine what's falling out of focus.
| | 04:31 | So that's a very cool effect and
incredibly useful when you want to
| | 04:35 | process backgrounds.
| | 04:37 | I find myself using this all the
time when I want to make green screen
| | 04:41 | backgrounds where I need shallow Depth
of Field and I really want to put the
| | 04:44 | focus on our subject.
| | 04:46 | In our next movie, we're going to
explore some techniques where you can create
| | 04:49 | your own custom depth mattes.
| | Collapse this transcript |
| Creating a depth matte with gradients| 00:00 | You saw in the previous movie how we
were able to control depth of field with
| | 00:04 | the Lens Blur effect.
| | 00:05 | Well, there are lots of ways to do
that by making the custom Alpha channel.
| | 00:09 | Let's start with a Gradient.
| | 00:12 | In this image, I want to
define what's out of focus.
| | 00:15 | By making a new channel and selecting
my Gradient Tool, I could do a black to
| | 00:20 | white gradient to define the distance.
| | 00:24 | As I drag you'll see it updates.
| | 00:26 | So you really can control how long
of a gradient this is as well as if
| | 00:31 | there's any angle to it.
| | 00:32 | Now, that's looking pretty good and
what I'll do here is run the filter,
| | 00:39 | Filter>Blur>Lens Blur.
| | 00:45 | Choosing the Alpha allows me to adjust it.
| | 00:48 | In this case, it looks to me
like the directions reversed.
| | 00:52 | The background is staying in
focus while the foreground went out.
| | 00:55 | And that's where you could use this Blur
Focal Distance or simply click the Invert button.
| | 01:01 | That gives you total control and now you
could refine the effect with the slider
| | 01:07 | and adjust the radius.
| | 01:09 | So what we did here is we pushed the
background material further out of focus.
| | 01:14 | This is great particularly in this case
for things like title sequences or if I
| | 01:19 | want to control what's happening.
| | 01:22 | You'll see that that's a
very quick render as well.
| | 01:25 | Here's another good real-world example
if I wanted to make this a chroma key.
| | 01:29 | In this case, it's
necessary to do a complex gradient.
| | 01:32 | So, with the Quick Selection Tool,
I'll select the building here in the
| | 01:36 | foreground for this archway.
| | 01:38 | That worked pretty well.
| | 01:43 | I'll go ahead, switch over to Channels and
make a new channel and fill that area with white.
| | 01:51 | Looking at what comes next, I could see
that I need to start to lighten this a bit.
| | 02:00 | So I'll click here, turning the Alpha
Channel off for a second and select some
| | 02:10 | of this foreground material.
| | 02:15 | Now, in this case, it's a
wall and a flat surface.
| | 02:20 | Quite easily, over here in the channels
we could fill that with 50% Gray, which
| | 02:29 | is sort of halfway between white and black.
| | 02:33 | Then for everything else,
let's just Ctrl+Click to load.
| | 02:37 | I'll choose Select>Inverse.
| | 02:39 | I'm going to define this innermost area
using the Gradient Tool. So there it is.
| | 02:48 | Let's look at that Alpha Channel and play.
| | 02:52 | You see we can draw.
| | 02:54 | Now, that went the wrong direction
so I'll just undo and draw this way.
| | 02:57 | What I just did is I created a gentle
gradient so that it falls off into black.
| | 03:07 | Put a little blur on that and you
should be able to absolutely see the doorway
| | 03:13 | and the railing and everything through it.
| | 03:17 | This allows you now to go in, run the
lens blur and completely control that that
| | 03:27 | background area is going to fall out of focus.
| | 03:31 | So if you want to make a better green
screen background or you just need to
| | 03:34 | control where the viewer's eye goes in
your images, for purposes of documentary
| | 03:39 | or narrative storytelling,
| | 03:41 | I really like how this gives you total
control; and you can decide what is in
| | 03:46 | focus and what is out of focus.
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| Creating a depth matte with the Blur Gallery| 00:00 | While we've looked at some different
ways of making the depth matte, gradients,
| | 00:04 | selections, there are some new filters
inside of Photoshop CS6 that make it very
| | 00:08 | easy to take total control over blurring.
| | 00:12 | Currently, these filters in the Blur
Gallery can't be run on a video clip.
| | 00:17 | So, what I'm going to do in this case is simply
duplicate my clip by making a duplicate layer.
| | 00:22 | And on this one, I'll go
ahead and rasterize that layer.
| | 00:29 | Let's put that above here into a separate
layer and pull it down so it just sits on top.
| | 00:34 | All we're going to do here is
process the effect to make the depth matte.
| | 00:41 | I could choose Filter>Blur>Field Blur.
| | 00:47 | And what's cool about this is you could
start to add points to define what's in focus.
| | 00:53 | So I could say, "Oh, this area? Very blurry!
| | 00:58 | Over here? Oh, not too much.
| | 01:02 | And right here on top of
this guy? Set that to zero".
| | 01:09 | Then you could start to go ahead and put
additional ones in there. There we go.
| | 01:14 | All I'm doing is creating what's
in focus and what's out of focus.
| | 01:20 | I'll put another pin right here and
pull that in a bit and you could really see
| | 01:24 | this by taking a look at the
individual channels when we export.
| | 01:29 | So what I've done here is I've created
a pretty complex field blur, and I could
| | 01:37 | define what's in focus and what's out of focus.
| | 01:40 | Additionally, if you don't want to use
Field blurring, you can use a Tilt-Shift Effect.
| | 01:45 | And Photoshop offers a very nice Tilt-
Shift filter where you could define the
| | 01:51 | range and adjust, creating a focus
zone and stuff that's out of focus.
| | 01:59 | As you see there, that's pretty cool.
| | 02:01 | I'm going to actually rotate this a
bit to match the lines and adjust it so
| | 02:06 | that this area is in focus while the
rest of this area has a very gentle area
| | 02:15 | that falls out of focus. There we go.
| | 02:19 | Now, either one is perfectly fine.
| | 02:21 | When you're done though, make sure
you choose Save Mask to Channels.
| | 02:26 | When you click OK, it will update.
| | 02:28 | And if you look over here in the Channels,
you'll see that it actually made a Blur Mask.
| | 02:35 | There it is.
| | 02:37 | If I want to use that more elaborate
one in the Field Blur -- let's just go
| | 02:42 | ahead and undo here.
| | 02:48 | Notice that the Field Blur
options will make a very complex mask.
| | 02:53 | So I could start to define what's
in focus and what's out of focus.
| | 02:58 | Putting these dishes in focus while
the areas next to them are a bit softer;
| | 03:04 | and the area in the upper corner here
is very blurry, while down here it's
| | 03:09 | only partially blurry.
| | 03:10 | Save that to the channel at High
Quality, and you'll see over in the Channels
| | 03:16 | Panel that you have a complex mask.
| | 03:22 | This can now be copied and saved
and used over in After Effects.
| | 03:26 | So I'll just select that and choose
Copy, make a new Grayscale document and
| | 03:37 | paste it in, and you see
we have our Depth Matte.
| | 03:40 | I'll just save that out, and
I've already got one there.
| | 03:47 | I'll save this other one as Depth1 and
you can use both of them in a second
| | 03:53 | over in After Effects.
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| The Lens Blur effect in After Effects| 00:00 | Once you have that depth matte and
your original clip, you can head over to
| | 00:04 | After Effects where you'll find the
Lens Blur or Camera Lens Blur effect to be
| | 00:08 | very similar to what exists in Photoshop.
| | 00:10 | The key difference here is that
it could be used on moving footage.
| | 00:14 | However, you still need to visit
Photoshop to create that initial depth matte to
| | 00:18 | get the most from the filter.
| | 00:19 | I've gone ahead and put my depth matte
over my image here and I also have this
| | 00:25 | other one that I hand painted a bit
using a gradient and then painted in where
| | 00:29 | the satellite dishes were.
| | 00:31 | Let's start with the first one.
| | 00:34 | I'll select my footage layer and
choose Effect>Blur>Camera Lens Blur.
| | 00:41 | This allows me to specify which layer
is the depth matte and then I could begin
| | 00:47 | to adjust the amount of blur.
| | 00:50 | Using the Blur Radius here,
we'll start to push that in.
| | 00:54 | In this case, it's in the upper right corner.
| | 00:55 | Now, it's a good choice to choose
Repeat Edge Pixel so you don't get any of
| | 01:00 | those transparency gaps. And you see
that that field that we created inside of
| | 01:04 | Photoshop, this white area is most
blurry, while there's less blur applied here
| | 01:09 | in the middle where it's gray, and
virtually none where it's black.
| | 01:12 | So that gives us total control.
| | 01:16 | Just like Photoshop, you can change the
Blur Focal Distance, so you can move that
| | 01:21 | through the scene, and that could be
used to refine what's blurred and what's
| | 01:26 | not blurred; so you can use
that to really take control.
| | 01:31 | If necessary, you could also invert the
map very easily with the Invert button
| | 01:36 | to just flip its direction.
| | 01:38 | Now, that's looking very cool.
| | 01:40 | You'll notice the ability here as well to
adjust the bright areas so they start to bloom.
| | 01:45 | And as I lower the Threshold there
the white areas in the image will start
| | 01:50 | to get a bit hotter.
| | 01:52 | All right, that looks good.
| | 01:56 | No grain option like Photoshop, but you
do have several grain effects inside of
| | 02:00 | After Effects here if
necessary and you could apply those.
| | 02:04 | Now, that did a good job of blurring
that footage and I took total control.
| | 02:10 | If I want to show you that real quickly
here--here it is again. There is the clip.
| | 02:15 | I'll apply the Lens Blur Effect.
| | 02:17 | Tell it to use the Depth Matte.
| | 02:21 | And then, as I adjust it there, with
the Repeat Edge Pixel option, you'll see
| | 02:28 | that the area falls out of focus
in the upper corner while this lower
| | 02:32 | material remains in focus.
| | Collapse this transcript |
| Animating a tilt-shift effect| 00:00 | After Effects offers an
ability called precomping.
| | 00:03 | This allows you to set multiple
layers and collapse them into one.
| | 00:08 | Essentially, it's like grouping
or nesting in an editing tool.
| | 00:10 | So that's what I'm going to do here.
| | 00:12 | I'm going to duplicate this
layer and simply invert it.
| | 00:15 | Now these two layers are the depth mattes.
| | 00:17 | So there's the one that goes black to white.
| | 00:20 | On the top one here, I'm going to make a
negative image with the invert effect.
| | 00:25 | There it is under Channel, Invert.
| | 00:29 | Now we have two different versions.
| | 00:33 | Using Opacity keyframes I could start
at 100% and then drop this down to 0.
| | 00:43 | Notice what happens now as we play that.
| | 00:46 | For a second, the image goes perfectly
neutral and then it switches directions.
| | 00:53 | Well, essentially, the depth matte is animating.
| | 00:57 | These two layers create an animated depth
matte and we can use these in the effect.
| | 01:04 | Now if you look down here at the effect
itself you see you have to choose a single layer.
| | 01:08 | So the key is to grab those
two and choose Layer>Pre-compose.
| | 01:20 | Now that they're precomposed, I
could define the depth matte as being the
| | 01:25 | precomp and turn off the visibility.
| | 01:28 | What you'll notice is that the shot
starts with one area in focus and then we'll
| | 01:34 | rack focus to the other
area with an animated move.
| | 01:39 | This is a very cool technique and
it allows you total control in post.
| | 01:44 | Sometimes it's difficult to get the
depth of field you want, particularly if
| | 01:48 | there's too much light in the scene or you
don't have a large enough aperture on the lens.
| | 01:52 | In this case, fixing it in post is an option.
| | 01:56 | I'm still a big fan of shooting it right,
but knowing that I could take greater
| | 01:59 | control during the
postproduction stage really is a welcome task.
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|
|
10. The Photoshop/Premiere Pro/After Effects RelationshipExploring similarities between the interfaces| 00:00 | One of the things I like best about
the Photoshop/Premiere/After Effects
| | 00:03 | relationship is that there's
so much similarity as I work.
| | 00:07 | This makes it easy to move between
the applications and take my knowledge
| | 00:11 | from one into another.
| | 00:13 | For example, you see here I
have a shot that's a bit dark.
| | 00:16 | I could start to make an adjustment
to that shot using the Curves tool and
| | 00:20 | if I feel comfortable
with that, it works nicely.
| | 00:25 | Over in Premiere, I've got the same project
with the same sort of footage. There we go.
| | 00:31 | Selecting that clip and in the Effects
area typing in "curves", I can get a Luma Curve;
| | 00:42 | and the effect offers very similar controls.
| | 00:45 | Then we pull down the shadows there,
lift the mid-tones a bit, even get in the
| | 00:50 | secondary adjustments or lower the white point.
| | 00:53 | So, what you learn in one app will
obviously carry over into the next.
| | 00:58 | What's even nicer is that Premiere and
After Effects have a great ability to
| | 01:04 | work with Photoshop files.
| | 01:05 | You learned earlier how to drop
Photoshop files in your timeline.
| | 01:10 | What's really nice here, is as I decide maybe I
wanted to add a new picture and I insert an image,
| | 01:26 | notice how easy it is to place it;
perform my color correction--there we go.
| | 01:41 | And update the file. Close, save.
| | 01:46 | When I switch back into Premiere,
you'll see that's right there ready to use.
| | 01:56 | If I need to, it's as easy as
just--Ctrl+E--for edit original.
| | 02:02 | I can make my updates, do any tweaking
that's necessary, close and save, switch
| | 02:11 | back, and everything updates.
| | 02:15 | Because there's such great
similarities as well as teamwork between these
| | 02:18 | three apps, I think you're going to be more
motivated to continue to explore this relationship.
| | 02:23 | In this title, we tackled a lot of
great things about using Photoshop with the
| | 02:28 | After Effects, Premiere,
and other editing tools.
| | 02:30 | I'd like you to just take a quick
moment to show you a few other integration
| | 02:34 | techniques and then I'll point out
some other training titles that you'll
| | 02:37 | want to check out.
| | Collapse this transcript |
| Exploring matched presets| 00:00 | One of the things I best is how well
Photoshop and After Effects play together.
| | 00:04 | In fact, many of the effects can
exchange data between the applications and
| | 00:08 | this makes it easy.
| | 00:10 | I find that Photoshop has useful
tools like Scopes and the On-Image Tool.
| | 00:15 | Sometimes adjusting effects inside
of After Effects is a lot harder.
| | 00:18 | Let's see two instances how this could work.
| | 00:20 | I've got a shot here and what I want
to do is drop it into a composition.
| | 00:27 | Now I'm unsure of the look and feel that I
want, but I start to add some adjustments.
| | 00:31 | I'll put two adjustment layers in.
| | 00:33 | There is one and let's put a second in.
| | 00:38 | The first one is going to be a black-and-
white adjustment and the next will be curves.
| | 00:46 | In both of these cases, these effects
exist in both Photoshop and After Effects.
| | 00:53 | The Curves adjustment is okay,
but this is not as intuitive.
| | 00:57 | I'm not exactly sure where to
click and it doesn't give me the same
| | 01:00 | responsiveness that Photoshop does.
| | 01:02 | The same thing here on the Black-and-White tool.
| | 01:05 | There is the Black-and-White Effect.
| | 01:08 | While I have sliders, I
don't have the On-Image Tool.
| | 01:13 | However, I could jump into
Photoshop and work with this clip.
| | 01:15 | If I put the Curves adjustment in there,
and I take advantage of the Auto Tool--
| | 01:21 | go ahead and enhance this one channel
at a time--and snap those neutral midtones
| | 01:26 | or find the light and dark or make it brighter;
| | 01:29 | you see how easy that is.
| | 01:30 | And it goes through and it corrects it
and will get me a good-looking image.
| | 01:35 | I can also use the On-Image Tool to
selectively brighten up an area or
| | 01:40 | pull another one down.
| | 01:41 | It's really nice how
complex of a curve I can make.
| | 01:48 | Very responsive, even the
ability to freehand draw or sample.
| | 01:53 | I could say that this should be
treated as black and it will adjust; or treat
| | 01:58 | this area as neutral gray and
again you see it color corrected.
| | 02:04 | I like that and what I want to
do in this case is save a preset.
| | 02:08 | So I'll choose Save Curves Preset.
| | 02:15 | Normally, it's going to navigate your
Photoshop preset folder, but you could
| | 02:18 | store this wherever you need to. There we go.
| | 02:29 | Let's do the same here for
the black-and-white file.
| | 02:33 | There is my black-and-white adjustment.
| | 02:35 | Using the On-Image Tool, it will tell me
which slider it needs and, I could do a
| | 02:44 | nice custom black-and-white conversion.
| | 02:46 | It looks pretty good.
| | 02:50 | You see I can get in there and
do the conversion that you want.
| | 02:57 | This is the same effect that's in After Effects.
| | 03:00 | You just don't have as many
options to make it as easy.
| | 03:04 | I could save that as a preset. There we go.
| | 03:11 | Switch back to After Effects.
| | 03:16 | In the case here, it's a little bit difficult.
| | 03:18 | You're noticing that you'd have to
dial in those same values. That's okay.
| | 03:23 | I could just toggle between the two,
and look at my values, and see: 161, 8, 40,
| | 03:37 | and the values are matched and 112, 79.
| | 03:49 | So instead of having to guess I could put
those numeric values across pretty well.
| | 03:54 | On the other hand though, some effects
actually can have their presets exchanged.
| | 03:58 | So, by clicking this open button here,
I could actually navigate to the
| | 04:03 | presets that I want to use--there it is--and
| | 04:10 | load it, and that more complex curve
that I made in Photoshop, becomes available.
| | 04:17 | In some cases, some of the core tools,
like levels and curves, are often easier to
| | 04:22 | work with in Photoshop, particularly
because you could actually open up a
| | 04:26 | Histogram panel and
really see what you're doing.
| | 04:29 | This will make it a lot easier, as
you design, to judge what's happening.
| | 04:34 | So as I work here and I start to make
adjustments with that curve I don't have to guess.
| | 04:41 | I could see the Histogram panel
update and I could even switch between
| | 04:45 | the different views. Let's do that.
| | 04:47 | Expand it with all channels.
| | 04:51 | I'll pull that off and it's really
easy to see what's happening as I work.
| | 04:58 | When I get the preset that I want, I
could simply save that as a Curves Preset
| | 05:07 | and then load that over in After Effects.
| | 05:11 | It's pretty cool how Photoshop and
After Effects can exchange data, because
| | 05:15 | I'd find it a lot harder to have to
create this look by guessing inside of
| | 05:19 | After Effects.
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| Creating a new PSD link| 00:00 | As you work with Premiere and After
Effects you're going to discover that they
| | 00:03 | both seem to really like Photoshop.
| | 00:06 | Both make it easy to bring Photoshop files in.
| | 00:09 | However, both could
actually create Photoshop files.
| | 00:13 | If I'm in Premiere, you've seen this
workflow once and, it's very easy to create
| | 00:18 | a new Photoshop file.
| | 00:21 | One that automatically matches the
drame rate, Pixel Aspect Ratio, and size for
| | 00:25 | the project at hand.
| | 00:26 | Let's just go ahead and save that there.
| | 00:30 | I can now create what I need to
using a very responsive Type Tool.
| | 00:37 | Let's make that a bit bigger. Change the font.
| | 00:48 | I'll temporarily put a solid color back there.
| | 00:54 | Let's dial in a more appropriate font.
| | 00:56 | Using the Up and Down arrows I could step
through my available fonts. That's playful.
| | 01:07 | Adjust the size using the Alt
+Left and Alt+Right keys, or Option on
| | 01:13 | the Mac, I can kern.
| | 01:18 | I can also do things like mix the
sizes here to have a larger initial letter
| | 01:33 | while bumping down the rest.
| | 01:34 | So you see, very easy to take control.
| | 01:44 | While that looks like a lowercase
that is actually the capital that this
| | 01:48 | particular font uses.
| | 01:51 | Now I'll press Ctrl+T for Free
Transform and scale that a little bit, position
| | 01:56 | it where I'd like, take advantage of
advanced options like layer styles. Here we go.
| | 02:20 | That looks good. Close and save.
| | 02:23 | When we get back into Premiere here, you'll
see that that's ready to go. Very easy effect.
| | 02:32 | If they come back and decide that they
don't like that font, it's simple Ctrl+E--
| | 02:39 | for Edit Original--takes me over.
| | 02:41 | I can now make any tweaks that are necessary.
| | 02:44 | Perhaps, it's adjusting the drop shadow,
making that a little bit more blurry;
| | 02:52 | changing the color overlay; and
close and save. You'll see that
| | 03:04 | that's an easy update.
| | 03:06 | But it's not just Premiere.
| | 03:08 | If you are in After Effects working,
you can build whatever you need.
| | 03:14 | Let's make a new project and I'm going to
go ahead and create something from scratch.
| | 03:22 | Remember, After Effects has
several useful animation presets.
| | 03:27 | So using the background category here
I'm going to create a circuit background.
| | 03:36 | We'll apply that to a new solid
in our composition. There we go.
| | 03:45 | Drop that on.
| | 03:48 | I've got the ability to tweak colors;
| | 03:51 | I can change the size here and the brightness;
| | 03:54 | you see how easy this is.
| | 03:57 | Let's transform that so it's a
little bit bigger. Here we go.
| | 04:05 | As I start to work perhaps I want
to deal with some text. Here we go.
| | 04:33 | And if I decide I need to,
it's very easy to save this up.
| | 04:38 | All you need to do is choose
Composition>Save Frame As>Photoshop Layers.
| | 04:44 | In fact, you can go ahead and spit
out a layered file. There it is.
| | 04:51 | And if I switch over to Photoshop, I
can open that up and you see that the
| | 04:58 | layers and everything came across.
| | 05:02 | Whether you're designing in Premiere
or After Effects it's super easy to
| | 05:05 | create Photoshop files.
| | 05:07 | Both Premiere and After Effects can export a
frame right from the composition or the sequence.
| | 05:13 | After Effects can even preserve layers
or you can easily create a new Photoshop
| | 05:18 | file and have that brought in
to your Premiere Pro project.
| | 05:21 | So great integration across the board
and I highly recommend you check out some
| | 05:25 | of the editing titles we have here on
Premiere Pro and Adobe After Effects.
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ConclusionGoodybe| 00:00 | I'd like to thank you for exploring
the many ways that Photoshop can enhance
| | 00:04 | your video and motion graphics workflow.
| | 00:06 | I have a bunch more training on this,
| | 00:09 | both new stuff to record in the future,
as well as a lot that's already available
| | 00:13 | here on the lynda.com library.
| | 00:15 | Be sure to dig in and take a look at
some of the many classes we've done that
| | 00:18 | tackle topics like After
Effects and Premiere Pro.
| | 00:22 | You'll find the ability to use
Photoshop woven throughout those, because I
| | 00:25 | truly believe that Photoshop is the number
one plug-in for both Premiere and After Effects.
| | 00:31 | If you work with Final Cut Pro or Avid
editing tools you'll find the extensive
| | 00:35 | training here as well.
| | 00:36 | Adobe Photoshop is a great tool whether
you want to use it to prep still photos,
| | 00:40 | enhance video clips, or
make all-new type entries.
| | 00:44 | Go ahead and dig in, and continue to
explore, and be sure to check back frequently
| | 00:48 | as we'll have new stuff for you to watch.
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