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With the release of Photoshop CS6, Adobe introduced the ability to edit video footage. Author Rich Harrington guides you through this brand-new workflow, from building a sequence to working with audio and exporting your video in a variety of high-quality formats. The course also covers how Photoshop's strongest feature, its image enhancement toolset, translates to video, from fixing under- or overexposed footage, performing color balancing, and adding vibrance and contrast to special effects, such as converting to black and white and using Smart Filters to soften skin.
When it comes to transitions, they have a very specific role, and that is to indicate a change in time or space. You are going to put a transition often at the start or end of a series of clips, to help get you in an out of those shots, and that's fine. You probably will not put a transition between every single shot. Remember, transitions are simply to help the viewer transition from one location to another, or from one point of time to another point of time. Let's take a look at how to put those in. I am going to go ahead and put a transition at the start of my sequence here, and I will just select the clip, and click the Transition button, and I can now toss this in.
I am going to say Fade With Black, so I fade up from black into my commercial. Let's go ahead and press play. (video playing) That worked out nicely. We had a little fade in to the first shot. (video playing) Now it's looking pretty good, but I want to get out of that a little bit earlier. We'll tighten this up a bit, and let's just adjust the shot so we see more of the beginning, and less of the walking at the end. If I get the gap, I could just pull those down. We will just review.
(video playing) That looks good. I am going to just move this shot up to get to it sooner. (video playing) That looks good. And let's just delete this last shot from the timeline, and do a gentle transition out to our subject. Now it looks like I may have a gap in there. So it's a good idea to zoom in and look carefully. To make sure as you go between shots, you don't have a gap. There is a one frame gap, so I am going to pull that, so it definitely closes up.
(video playing) All right, let's finish this shot out. Notice in this case, I am getting a little bit of a vignette. We'll tackle that by just re-sizing the shot. I could select it here in the timeline, and if I twirl down, you see we have Position, Opacity and Style. While if I just right-click on that and Convert it to a Smart Object, you'll see that when we twirl it down now, you actually have additional property called Transform.
So now by invoking Command+T or Ctrl+T for a Free Transform, you can scale up the shot. I will just hold on the Shift key there, and I am just getting it so that vignette is removed from the upper corner. Now making that a Smart Object may give you a slight hit in performance. You'll notice it skips a little bit, but it looks pretty good. Let's put a transition there back to our subject, and I will just do a simple fade. And it's going to fade back out to our subject in the studio. I'll mute my audio and watch that back.
(video playing) There it is. Notice when you play it back the second time, you get the real time playback. If Photoshop ever starts to skip like that, just play the shots through once, disable the audio, and when you play it back, the frames will become cached. It's then a lot easier when you turn the audio back on. (video playing) To get the real time performance. That looks good, let's just close that gap up. We'll take it back by pressing the home key, and watch it once from the top. I will mute the audio and let the frames cache turning green.
(video playing) There we go. Press the Home button, turn the audio back on, and review my sequence with the two transitions. (video playing) Narrator: This is your world; traffic, cell phones, steel structures, concrete roads, and people on the go. Trees are the exception-- Richard Harrington: I like that there. It seems a little abrupt between these two shots, but I think that's okay, it adds tension.
(video playing) Narrator: roads, and people on the go. Trees are the exception, not the rule. That works well. That's the essentials of working with B-roll. Browsing and finding the shots, loading them into a document, putting them in the right order and then dragging that timeline into your individual timeline. Now you don't have to do that process of using separate groups. I just find that keeping things in smaller pieces makes it easier to organize and gives me some backup steps. If I screw things up, I can go to that pre-file that I made where I've got the shots arranged and I could just open that back up and re-explore it.
It's sort of like an organization technique. Grouping some shots together into a smaller group, so I could deal with them without having a look through everything on my hard drive. At this point, I invite you to continue to practice editing. There is another minute and a half or so of video that needs some B-roll. I am going to go ahead and cut a lot of that in. However, like I said before, nothing is fun to watch the painter paint; you just want to see the painting. So let's go ahead and jump forward in time and explore audio. Feel free to practice with the shots you have in hand with some additional editing practice, or I'll give you a new starter project that you can open up, so you can explore some of the additional options.
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