Rendering the video for the NLE
Video: Rendering the video for the NLEOnce you feel the shots are ready to go, you just need to render them out of Photoshop so you can get new video files. This process is pretty straightforward, but it lacks some of the ease of use of tools like Adobe After Effects or Premiere Pro. I'll just check my shot by clicking the mesh here--turning it on, and I can clearly see what sort of fixes have been done to that shot and the distortion that's in play. If I need to, I may choose to tweak just a little bit more by grabbing or pulling handles, but I think we've done a pretty good job here. Pulling that midpoint really snaps things into play there and just by adjusting it.
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This course details Adobe Photoshop features of use to video editors. Author Rich Harrington describes core digital imaging concepts and shows how to perform basic image adjustments, such as correcting exposure and contrast. He also works through a series of practical techniques, from designing and animating a logo to creating a gradient wipe for use in motion backgrounds. The course also covers using the Photoshop editing tools and video timeline for advanced tasks, such as correcting lens distortion, color grading, and enhancing depth of field.
This course was created and produced by Rich Harrington. lynda.com is honored to host this content in our library.
- Understanding still image concepts such as resolution and bit depth
- Matching your sequence settings
- Using Content-Aware Scale
- Working with raster and vector images
- Setting transparency
- Adjusting blend modes
- Animating with keyframes
- Creating custom gradients
- Performing automatic lens correction
- Using actions to speed up video workflows
- Correcting color
- Creating a depth matte with gradients
- Integrating Photoshop with Premiere Pro and After Effects
Rendering the video for the NLE
Once you feel the shots are ready to go, you just need to render them out of Photoshop so you can get new video files. This process is pretty straightforward, but it lacks some of the ease of use of tools like Adobe After Effects or Premiere Pro. I'll just check my shot by clicking the mesh here--turning it on, and I can clearly see what sort of fixes have been done to that shot and the distortion that's in play. If I need to, I may choose to tweak just a little bit more by grabbing or pulling handles, but I think we've done a pretty good job here. Pulling that midpoint really snaps things into play there and just by adjusting it.
Now, if you go a little too far, it may not take a click. So it's really just a matter of giving it a quick once over. But I think I've made the good changes, I'm pretty happy with where it all stands here. I think I did a good job of removing the distortion. Looking at that mesh really gives me a good idea of what's happening. Let's just fix this last line here. There we go. That looks great! So what I'm going to do is adjust the scale to remove the transparent pixels at the edge.
If I don't do that, I'll just have black at my edges, and that's okay too. You might decide, for example, that you'll just make a still image and clone in that material. I think that's pretty good. I'll click OK, and I'm going to come over to Photoshop here and make a new video layer. The reason why I'm going to make a New Video Group here is that I want to clone above. So that puts the layer above. That's great! I'll make an empty layer and adjust it, so it's the duration of my clip.
Now, using the Clone Stamp Tool I can go ahead and Alt+Click and choose Sample: All Layers and just fill in with cloning some of those missing pixels. There we go. Now, if this shot pans or moves, which it does a bit, that may cause some problems within the shot. But I think that's pretty good. Let's drag through and just quickly check. It still looks okay there. That's really outside of the action safe, and it's just a light blue and a dark overlay.
I think it's doing a pretty good job. So I'm ready to render; File>Export>Render Video. This allows me to choose to use the Adobe Media Encoder, which is generally ideal. I'll go to a QuickTime file and I could choose JPEG 2000 or High Quality Animation; that works great, or an Uncompressed file, which is absolutely huge. Animation is really big; Uncompressed is enormous. For most folks JPEG 2000 High Quality will be a good output, but you can always go over to Adobe Media Encoder and create new presets.
If you'd like to, choosing a DPX image sequence also makes it easy to render out a series of still frames and then those can be imported into a nonlinear editor as an image sequence, which will then reassemble the frames into a movie. In any case, spitting this out allows you to go ahead and make a new file, and you could choose to do all the frames or just specify a particular range for the part of the clip you'd like to use.
There are currently no FAQs about Photoshop for Video Editors: Core Skills.