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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
>> Hey Rich, so we are going to do our first time lapse assembly here in Adobe Photoshop. And again, Photoshop is just a tool that's kind of ubiquidious. Everybody has access it to, you know, through the Creative Cloud. >> Yeah. >> If they're a creative Cloud member, and it's just one of those things that, in my experience anyway, every video editor at some point in time touches Photoshop. >> It's pretty easy to do and a lot of folks don't realize that since Photoshop CS 6, which is the previous version before Creative Cloud. >> Mm hm >> It's had the ability to work with video. Now some people had to use to buy like an advanced version for that.
But there's no longer a, a line in the sand. >> Just one product, right. >> Every Photoshop can work with video or can create video. So, so let's do that. >> Okay. >> We're going to start here by making a new document. >> Okay. >> File > New. And a lot of people don't ever click this Menu. >> Yeah. >> Presets. >> Now this is something really cool. Fin, this has been a lot obviously in Photoshop for a long time. >> Yeah. >> And Adobe's done some good work here. So it's just film and video. And then, under the size, you'll see a lot of common sizes like ten, you know, 1080, 720 or. Let's do this with the 1080p size, because that way we have a, you know, pretty good size that we can down, down sample if we need to.
But this is good. >> And don't be bothered that the frame rates are 2997. >> Right. Once we click okay, we get a new document. >> Yep. >> Bring up the Timeline panel. >> Yep. And this is something that's obviously going to give us the ability to see a video timeline. >> Yeah. >> Just like you would in say Premier or Final Cut, whatever. So, all we need to do here is click on Create New Video Timeline. >> Yep. And then over here, in the Panel menu, which is the little triangle on the right. >> Yep. >> You could choose the timeline frame rate. >> Yep. >> And we'll go with 23976 for web delivery.
>> I like that, yeah it sounds good. Okay Rich, so we got our new timeline set up here in Photoshop. >> Yep. >> Next up, I'm guessing is to bring in the files. >> Yeah, it's pretty easy. You just say Layer. >> Mm-hm. >> Video layer. New layer from file. >> Okay. >> And you point it at the folder, and you just basically grab the first shot and as long as this sees a consecutive series of images. >> Mm-hm. >> When you hit open, it will basically import that, thinks for a second and builds a video file out of all those frames. >> Okay, so I'm seeing hold on, huh something's confusing me here, Rich.
>> Mm-hm. >> I don't recall us doing the time lapse of a close up of the tree. I thought we had a field and the sky and all that. What's, what's going on here? >> The GoPro sensor shoots a higher res still than our video format. >> So we have a 1080 frame size in our timeline here, but the original imagery was bigger. >> Yeah, almost double that, so. >> Okay, so I probably want to transform it. >> Easiest way to do that, is to make this a smart object, so you right click and you convert to smart object, it makes it like a group. >> Right. And so a smart object is actually pretty cool for a couple reasons, right? >> Yeah. >> The first is, that it sort of allows you to do things non-destructively, like transforms.
You made a mistake, you could always go back, transform it differently, and, and you're fine. If you didn't make it a smart object before your transform, you're kind of baking that in and stretching pixels around. But the real cool part about that I like, is for filters. >> Yeah, they apply to all the frames at once and they're non-destructive, which is cool. >> Okay. >> So I just, after making a smart object, hit Command or Ctrl+T for free transform and then Cmd or Ctrl+0 to zoom out. >> Okay. >> And now we'll just hold down the Shift key and drag, to sort of scale that. >> Now, again, because the aspect ratio of the GoPro is different from our 16 by 9 aspect.
>> Yeah. >> Here on this this timeline, you're going to have to make some creative choice to get it to fit right. >> And, yeah, because the GoPro is actually more of a square aspect ratio. And I can see my horizon line's a little bit off, so let's just drag down a guide. >> Mm-hm. >> And still using free transform here, we could do Cmd+T and basically rotate that a little bit. >> Now you got a little gap on the left side there as well, there you go, okay. >> And it's good right? >> Yep. Looks good. >> So there's our shot and at this point you could do things like change it's speed, so if you didn't want it to be 24 frames a second. >> Mm-hm.
>> You could basically click the little triangle here. And this lets you sort of see what's going on. Now, you'd have to step inside the video file. >> Right. >> And basically, inside of there, you can click the triangle and click right here and it says, oh I could change the speed. >> Sure. >> So if you wanted to slow it down, you could. You just have to step in. I would do that usually before I do the transformation. >> Absolutely. And you could do other things like, you could add some filters. Now just keep in mind that filters per say, not every filter in Photoshop is going to work on a smart object, right? >> Most will but yeah, I, I added an adjustment layer which worked great to do a little curves adjustment.
>> Mm-hm. >> Maybe we want a toss on a lut. >> Yeah maybe we developed a look inside of Adobe SpeedGrade and we want to apply it here. >> Yeah and they even have presets for things like Kodak and Fuji film stocks. And lets say we're happy with that and it's quote good. Well, when you hit the space bar in Photoshop, it's not going to be a very real time experience, because. >> Cha-chung, cha-chung, cha-chung. >> Yes, it's playing like one frame a second. >> Right, right. >> So, you just say, File>Export>Render Video. >> Yep. >> And at this point, it's actually pretty professional.
You tell it where. >> Okay. >> Which is easy enough. >> Sure. >> So, let's just target a folder there. We'll go to our drive. And I got a time lapse folder. We'll make one called Renders. There we go. And then you tell it a format. >> Okay. >> Go with Adobe Media Encoder, unless you want an image sequence. >> But, and you might choose an image sequence if you're doing something like bringing into Adobe Speed Grade or DeVinci Resolve. Where you don't want have to deal with codecs and all that kind of stuff. >> Yeah. >> Most of those apps can read tiff sequences, things of that nature. But if you're passing it off to an editorial app, or something like that, using Media Encoder to create a file is probably your best bet.
>> And I find that usually JPEG 2000 High or Uncompressed works pretty well. Animation's ridiculously large. >> Yeah. Just keep in mind with the JPEG 2000, and that's really a, a newer compression scheme. It's used for things like DCP packages, digital cinema packages for film delivery, that kind of stuff. >> Yeah. >> It's going to be like animation in the old days when, remember when anybody couldn't playback animation because it so. >> Yeah. >> High bandwidth. The uncompress actually is going to be a little easier on your computer even though it's going to give you bigger file sizes. Not a lot, whole lot of things can play back JPEG 2000 perfectly smooth, so uncompressed is a good shot.
>> Yep, and pretty straightforward, it's, there's our frame rate, make sure you choose it or choose the. >> Mm-hm. >> Correct one. >> Yep. >> And it's progressive, square pixels. >> Everything looks good there. >> Yeah. And there's no alpha channel, so it's all good. I just click Render. And it runs. >> By the way, you did make the cardinal mistake of saving something, you left it as untitled. But we can fix that. >> Bah. >> I like untitled. It makes me feel like there's a sense of yearning. Speaking of a sense of yearning, when we come back we're going to take a look at a NLE workflow using, Adobe Premier Pro.
There's two ways of doing it in Premier and it's the same with most other NLE apps. We're going to show you both ways to approach it with a non linear editor.
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