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Using a movie clone source


Painter 11 Essential Training

with John Derry

Video: Using a movie clone source

In this movie we are going to take a look at using a movie as a Clone Source. We have seen elsewhere in this title how we can take an individual image and through cloning it, give it an entirely different appearance. Well in this movie we are going to show you how to do the same thing except you can actually a video source, a series of changing frames and apply Painter's cloning capabilities to the clone of that movie. Now I'll tell you upfront here, this is probably the most technically sophisticated video in the entire movie.
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  1. 1m 49s
    1. Welcome/demo
    2. Using the exercise files
  2. 3m 45s
    1. What Painter can do
      1m 15s
    2. Let's paint!
      2m 30s
  3. 23m 16s
    1. Starting Painter for the first time
      6m 39s
    2. Creating, opening, and saving files
      4m 52s
    3. Sizing image resolution for output
      6m 16s
    4. Extending the canvas
      2m 36s
    5. Creating and using templates
      2m 53s
  4. 37m 46s
    1. Navigating Painter
      8m 46s
    2. Rotating the canvas
      3m 3s
    3. Using the Tool palette and Property bar
      6m 41s
    4. Understanding Tool palette selectors
      8m 58s
    5. The Brush Selector bar: an art store in a palette
      4m 2s
    6. Configuring palettes
      6m 16s
  5. 28m 37s
    1. Accessing and controlling color with the Color palette
      8m 27s
    2. Mixing color in the Mixer palette
      10m 41s
    3. Color sets: choose 'n' use color
      9m 29s
  6. 37m 13s
    1. Understanding the six axes of motion
      3m 19s
    2. Introducing tablets: Intuos3 and Intuos4
      8m 6s
    3. Introducing tablets: Cintiq
      7m 49s
    4. Customizing your Wacom tablet: part 1
      4m 57s
    5. Customizing your Wacom tablet: part 2
      9m 25s
    6. Maximizing your tablet's pressure response
      3m 37s
  7. 14m 56s
    1. Understanding the selection tools
      2m 16s
    2. Making selections using the Lasso tool
      3m 20s
    3. Making polygonal selections
      2m 51s
    4. Making selections using the Magic Wand tool
      6m 29s
  8. 42m 34s
    1. Understanding layers
      8m 1s
    2. Using the Preserve Transparency control
      2m 50s
    3. Using the Pick Up Underlying Color control
      4m 36s
    4. Resizing and rotating layers using the Transform tool
      5m 45s
    5. Making selections using channels
      4m 23s
    6. Working with layer masks
      9m 52s
    7. Adding text
      7m 7s
  9. 37m 40s
    1. Understanding the Brush Creator workspace
      6m 11s
    2. Exploring brush properties using the Randomizer
      8m 15s
    3. Exploring brush properties using the Transposer
      4m 45s
    4. Using the Stroke Designer to create custom brushes
      9m 39s
    5. Managing brush variants
      8m 50s
  10. 38m 25s
    1. Adjusting brush size: three techniques
      3m 3s
    2. Fine-tuning your stroke in the Brush Controls palette
      5m 12s
    3. Working with texture-aware media
      8m 59s
    4. Painting with Artists' Oils brushes
      10m 45s
    5. Painting with RealBristle brushes
      3m 39s
    6. Working with hard media
      4m 57s
    7. Painting with markers
      1m 50s
  11. 20m 21s
    1. Understanding the Image Hose
      3m 26s
    2. Controlling the Image Hose
      8m 32s
    3. Creating a nozzle file
      8m 23s
  12. 22m 11s
    1. Warmup exercises
      7m 54s
    2. Draftsmanship: drawing media
      10m 56s
    3. Doodling
    4. Creating outline sketches utilizing the conceptual squint
      2m 38s
  13. 17m 28s
    1. Understanding cloning
      3m 1s
    2. Tracing a clone's source using Tracing Paper
      3m 27s
    3. Painting a cloned image
      5m 55s
    4. Creating a Quick Clone
      2m 46s
    5. In-document cloning
      2m 19s
  14. 25m 51s
    1. Understanding the vocabularies of paint photography
      8m 51s
    2. You must destroy detail
      6m 20s
    3. Focusing on the subject
      4m 1s
    4. Adapting color in a photograph for photo painting
      6m 39s
  15. 28m 17s
    1. Under-painting
      6m 26s
    2. Auto-painting
      5m 25s
    3. Using manual controls for auto-painting
      11m 53s
    4. Restoring detail using the Restoration palette
      4m 33s
  16. 18m 44s
    1. The photo as wet oil paint
      6m 47s
    2. Cloning the canvas and building detail with multiple layers
      11m 57s
  17. 25m 58s
    1. Applying surface texture
      6m 53s
    2. Matching the color palette between two images
      4m 10s
    3. Marbling
      9m 27s
    4. Exploring the Growth effect
      5m 28s
  18. 25m 10s
    1. Understanding frame-by-frame animation
      2m 9s
    2. Creating an animation with onion-skinning
      11m 51s
    3. Using a movie clone source
      11m 10s
  19. 17m 46s
    1. Using each application for its strengths
      4m 24s
    2. Working with Photoshop's PSD file format in Painter and Photoshop
      4m 51s
    3. Configuring color management
      8m 31s
  20. 33m 26s
    1. Setting preferences
      7m 37s
    2. Customizing keyboard shortcuts
      5m 5s
    3. Saving and restoring palette layouts
      4m 4s
    4. Creating custom palettes
      3m 36s
    5. Accessing favorite brushes using the Tracker palette
      5m 55s
    6. Organizing custom workspaces
      7m 9s
  21. 8m 17s
    1. Undo, undo, undo
      3m 33s
    2. Painting on layers
      1m 57s
    3. Save often, save early
      2m 47s
  22. 10m 7s
    1. Resetting brushes: Painter's panic button
      2m 0s
    2. Resetting workspaces with the Shift key restart
      6m 12s
    3. Troubleshooting brushes with the brush checklist
      1m 55s
  23. 16s
    1. Goodbye

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Watch the Online Video Course Painter 11 Essential Training
8h 39m Beginner Jul 24, 2009

Viewers: in countries Watching now:

In Painter 11 Essential Training, John Derry, one of the original Painter authors, demonstrates basic and advanced creative techniques that can get beginners up and running. He also shows old hands the new features that can get a creative vision out of the head and onto the canvas. John demonstrates how to establish an easy workflow in Painter by using a Wacom tablet, and he explains how to create, edit, and publish projects. Exercise files accompany the course.

Download the Painter/Photoshop Consistent Color Management PDF and the Brush Troubleshooting Checklist PDF from the Exercise Files tab.

Topics include:
  • Understanding the Painter 11 interface
  • Exploring Painter's brushes and painting styles
  • Creating and using templates
  • Working with layers and channels
  • Adding text to a canvas
  • Designing captions and text for photos
  • Integrating Painter projects with Photoshop
  • Creating animation sequences with Painter
Painter Wacom
John Derry

Using a movie clone source

In this movie we are going to take a look at using a movie as a Clone Source. We have seen elsewhere in this title how we can take an individual image and through cloning it, give it an entirely different appearance. Well in this movie we are going to show you how to do the same thing except you can actually a video source, a series of changing frames and apply Painter's cloning capabilities to the clone of that movie. Now I'll tell you upfront here, this is probably the most technically sophisticated video in the entire movie.

It's not rocket science by any manner. It just requires that you do specific things and let's go ahead and take a look at this. I'm going to open up an existing movie. So, I'm going to open and we'll go to our Exercise files here in Chapter 17 and I'm going to open up the video clip. So let's just open that up. I have to give it a name now because it is going to create a frame stack out of this. So let's just call this dance and I want to put the extension on it. So, I'm going to disable that and now we'll go through and create a series of frames out of this movie.

Now one thing that may or may not happen on your system. It depends on how your settings are configured. You may or may not have an issue with the appearance of color because I typically I'm working in Adobe RGB it just by default applies Adobe RGB to all my images and so right now we are looking at this if it were setup for Adobe RGB. It is not. So I'm going to disable Color Management right up here. I'm just going to click on this little icon and shut this off. Your system may or may not be setup that way so you may not see the color shift that I saw, but having dealt with this video beforehand, when it came up the first time I noticed it's saturated and I knew because of my Color Management settings it was just applying that to frame stack which in this case I don't want to do.

I have disabled that so that I'm not getting some false sense of color here. So, we have what's going to be clone source, we need to create the destination. In order to do that we have to know what the size of this movie is. Now I could go out in the Operating System and look in the file folder and stuff to find that. But I want to show you a way you can do it when you are already inside of Painter. What you need to do is do select all, which is Command+A or Ctrl+A, so that it just selects the entire frame and all I'm going to do is copy that out and make a new image with it.

So I'm going to say paste in new image, and there you can see once again by default it always want to show in Adobe RGB, you can see that color shift. It's just much more saturated. I don't care about that right now. What I want to see is in the Canvas menu, if I go to Resize, I can find out that this is 720 by 486 pixels. So those are the magic numbers I need in order to create a destination frame stack that is the same that's one piece of information. So let's remember that 720 by 486. So we now go up and say in the File menu that we want to create new.

Once again, we are going to create a frame stack and at 720 by 486 and we also want to make sure we have to create the same number of frames. So we see in our frame stack controller that it is 69 frames. So, make sure we put 69 frames here also. We are now going to end up with an exact duplicate in terms of the size and the number of frames that makes this up, but now it's going to be a blank frame. So let's go ahead and call this dance clone so we can keep them straight and we do want the extension to show and we say OK.

For what we are going to do, we don't even really need to see the end of the skinning, but you have to have at least some minimal numbers so I'm just going to keep it to -- keep it at 24 bits, say OK and there is our frame stack. We no longer need this, as this is just a reference so that we could get a size, so we can close that now. And we have now a source movie and a destination movie or in this case they are actually frame stacks, but they are motion and we can see here if I temporarily turn on Tracing Paper. Here is the one thing we need to do and this is important because if you don't you will get this illusion of -- well, I just turned on Tracing Paper over there, what's going wrong, and actually this is good object lesson.

We need to define what the clone source is so you need to go to what you want your source to be and you can use Command+ D or Ctrl+D here to get rid of the selection. And I'm going to go to Movie and I want to say here Set Movie Clone Source. So whatever is the current frame stack it is going to use that as the clone source. So we'll say Set Clone Source. Nothing appears to change, but however when we go over here and turn on Tracing Paper, you can see that I now have each individual frame is now associated with the destination.

So the source and destination are now linked together as we want them. So that's our first step and for what we are going to do here though however we don't need Tracing Paper on, so I'm going to disable that. What we want to do is essentially we are going to apply a Script to a movie and this title isn't the place to into depth about Scripts, but we are going to learn enough about it in this case so that you can use it to apply a brush to a movie and so it will automatically Auto Clone every frame of the movie. So, we first go to the Window menu and we are going to go down and select Scripts and there are few default Scripts here that you can playback.

But right now we want to actually get into business of creating the script and I'm going to use in the Cloners category the Impressionist Cloner. So, find that brush and put it in here. That's the first thing you want to do. The next thing I'm going to ask you to do and if you have been watching through this title, you have a little bit of a Brush Controls under your belt. We are going to go in, I'm going to go to Brush Controls and we are going to go to the Size dialog and normally this is set to Random that's the way it comes from the factory.

I want you to set this to Source. Now why are we doing that? When it is set to Source it's going to use rather than randomly change the Size of this brush anywhere from 19 pixels down to the 33% of that size, it instead is now going to use the luminance information in the image. What that means is that areas that are lighter are going to get bigger brush strokes, areas that are darker are going to get smaller brush strokes and it is just going to add a little bit more dynamic quality to this particular brush as it is applied in a frame by frame fashion.

The other thing it's going to do is it's also using luminance, as you will see when we start applying this. It actually uses luminance information to decide which angle it wants to apply the brush and that may not make sense in words, but when you see it as it being applied, it really gives the brush strokes almost the illusion as if they have been hand applied in a directional fashion. And because there is a coherence of changing luminance values within an image, it's using the luminance almost like a map.

For each luminance value it says at this luminance value I'm at this angle. And the result is this very coherent appearance in the way all the brush strokes are applied. So that's done in this case, this controls the brush stroke, but it is also using source, which is the luminance value in the original image which is here to adjust those angles. So it is a little geeky but that's what's going on. So you understand how we are doing this. Now let's go back to the clone image that we are going to do this on. We've set our brush to be kind of special here to do something a little extra.

We now need to record a short piece of Auto-Cloning. So I'm going to go and I'm going to turn on Record. Now before I do this I'm going tell you one other thing. This is another little thing you must do if you wanted to end up like, I'm going to show you. If you go to the Script options there is a thing that's normally checked that says Record Initial State. What this does is it just records everything about the brush at the beginning and it applies it throughout the Script application by disabling this. It means it's going to be random every time it applies it and if they were on, I did this earlier and tested it, it looks as if you are looking through some static brush strokes and the image is changing.

While that sounds interesting, it turns out to have the brush strokes randomly applied on each frame gives a much more dynamic appearance to the resulting video playback. So my recommendation is to turn this off, but if you get into playing around with this, play with turning this on and off. The advantage of having this off too is I can go ahead and record my little animation, but then I can go back, I can change that source. We will choose directing what angle the brush was at. I can change that back to other settings. I can adjust the size of the brush.

Because none of those settings were saved you can actually kind of change the brush and try it over and over again with different settings to see what's going to happen. But let's go in here and we are going to hit the Record button down here at the bottom. Now it's not like it is recording time or anything. It is just waiting to get input from a command. So, I'm going to go up to the Effects menu and under Esoterica I'm going to apply Auto Clone. Now before I do this I want to tell you, you don't want to sit here and let this start applying and after all 45 seconds, say, I'll stop now and then it has recorded that. What you want to do is get it till the minimum amount of applications of the Auto Clone as possible, but yet fills it up because what it's going to do on the playback when you apply this frame it's going to apply that much time to every frame.

So if you have several seconds of Auto- Cloning, it is going to add that up for, in this case 69 frames. It's going to take all of that extra time. So I found that just doing minimally as you will see me do here, it's only going to be like two or three applications of Auto Clone till where it's like okay the image is basically painted. Stop. Okay, so that's what I'm going to attempt to do here. So I'm going to go ahead and say Auto Clone and here it goes stop. Okay I clicked on the image and that stopped it, so it looks like I got three applications and you can see there is a little bits of white showing through here and that's a preference.

I like a little bit of unfinished canvas showing through. So let's go ahead and stop that animation and I'm going to name it impression and say OK and in fact we can actually put this Script away now. I am going to go ahead and put this up here. I'm also going to Select All and Undo that because that's what our test just to get it in there. But it's now going to apply to every frame. I'll go back to the Movie menu and I'm going to say right here Apply Script to Movie. So as say Apply Script to Movie and here is impression. So I say okay and I just say playback and now it's going to sit here and it's going through and frame by frame by advancing and doing the Auto Clone on each frame of the movie.

Now as you can see this, it's 69 frames just about, just 3 or so seconds and depending on your processor, depending on the scale, the size of the video all of that can have a impact on how long this takes and you can see by the time it is taking here that this would roughly 2 minutes or so. Now rather than complete it, I have done one already that we can look at so you can get a sense of what this looks like when it's finished. So I'm going to go ahead and hit the Escape key to end this one. Once again I see that over saturation so I'm just going to disable Adobe RGB as my color profile and I'll just play this much of it so we can see what we got.

So I hope you will find this interesting and if you are a video person you will probably find yourself experimenting right here.

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