IntroductionWelcome| 00:04 | Hello, I'm Ian Robinson and I want to
welcome you to Artistic Video with Photoshop.
| | 00:09 | In this course, we'll get started
by familiarizing ourselves with
| | 00:13 | building a short stylized video.
| | 00:15 | First, we'll cover how to edit video
directly inside a Photoshop using video groups.
| | 00:21 | Then, we'll jump to correcting and stylizing
those clips and even edit in some
| | 00:26 | still photos that will animate.
| | 00:29 | After that, we'll layer in
some graphic elements and text.
| | 00:32 | And then of course, animate those elements.
| | 00:35 | Finally, we'll look at masking and compositing
as we create our final stylized video.
| | 00:40 | We'll even use animated masks to
make graphics look like they're drawing
| | 00:44 | themselves on to the screen.
| | 00:46 | We've got quite a lot of ground to
cover so let's get started creating
| | 00:50 | Artistic Video with Photoshop.
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| Using the exercise files| 00:00 | If you are a Premium member of the
lynda.com online training library,
| | 00:04 | you have access to the Exercise Files
used throughout this course.
| | 00:08 | Now, the Exercise Files are in the Exercise
Files folder, which I've placed on the desktop.
| | 00:14 | Now you can store it wherever you like.
| | 00:15 | Let me open the folder.
| | 00:17 | And you'll notice that we have everything
organized according to chapters.
| | 00:22 | Now we do have project files
for most videos but don't panic,
| | 00:25 | some of them don't require project files.
| | 00:28 | Now, if you ever decide that you need
to move the Exercise Files folder
| | 00:32 | to a different hard drive or a different
computer, make sure to copy the entire
| | 00:36 | folder as one unit because the project
files that I have set up in these
| | 00:41 | subsequent chapter folders do reference
Assets in the Assets folder.
| | 00:46 | So it is important again to copy the
entire Exercise Files folder anytime
| | 00:51 | you decide to move them.
| | 00:52 | If you are a monthly or annual subscriber
to lynda.com, you don't have access
| | 00:58 | to the Exercise Files but you can
follow along with your own work.
| | 01:01 | So let's get started.
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| Relinking missing media| 00:00 | Now when working with video inside
of Photoshop documents, it's important
| | 00:04 | to understand that the Photoshop
document is saved separately
| | 00:07 | from the external video file.
| | 00:09 | And on occasion when you open the
Photoshop document, Photoshop will lose
| | 00:13 | its link to that external video file.
| | 00:15 | To show you what I'm talking about,
let's look at our Exercise Files folder.
| | 00:20 | Here you notice I have an Assets folder.
| | 00:22 | If I open that, I have a Video
Sources folder and I also have
| | 00:26 | this Prerendered Videos folder.
| | 00:28 | I know I have project files
that reference these video files.
| | 00:31 | So I'm going to go to the
Chapter Four folder and open the
| | 00:36 | Animate Text Photoshop document.
| | 00:38 | When this opens, notice I got this
message that pops up about missing media.
| | 00:43 | Now before I click Choose and point
Photoshop in the right direction, I want you
| | 00:48 | to pay attention to this line right here.
| | 00:50 | This is giving me the file path that
Photoshop was going down to try and find the file.
| | 00:55 | So it was looking on my desktop in my
Exercise Files in the Prerendered Videos folder.
| | 01:01 | Well, it's not there so
let's go click on Choose.
| | 01:05 | If we navigate to the Exercise
Files folder, you'll see we have our
| | 01:09 | Assets folder and if I move this
window down here, you could see in
| | 01:13 | Assets I have Prerendered Videos.
| | 01:16 | So if we go into the 04_Prerendered_Videos
folder, here is my
| | 01:21 | 04_01_Prerender.mp4 that the
Photoshop document is looking for.
| | 01:26 | When we select it and click
Open, then we can click OK.
| | 01:31 | Now if you have multiple files, you'll
see multiple check boxes get filled out
| | 01:35 | if all those video files
were in that same folder.
| | 01:39 | Since this is re-linked, I'm going to click OK.
| | 01:42 | And if we scrub the play head in our
Photoshop document, notice the video
| | 01:46 | is going to go ahead and play and I no longer
have a missing file or a missing link
| | 01:51 | to that external file.
| | 01:53 | Now there's another way to re-link
your files and to show you that, I'm going
| | 01:56 | to jump back to my Exercise Files folder
and this time I'm going to go in my
| | 02:01 | Chapter One folder.
| | 02:02 | In here, I'm going to open the
01_03_Multi_Video Photoshop document.
| | 02:08 | When I open this project,
notice I have three files set up.
| | 02:13 | Now typically, you can click the Choose
button and navigate to the first one
| | 02:16 | and all of them will re-link and
everything will work perfectly.
| | 02:20 | But sometimes, that isn't the case.
| | 02:22 | Sometimes when you re-link it, things just
look like they aren't quite working right.
| | 02:26 | So what I'm going to do
this time is click Cancel.
| | 02:29 | See if we don't re-link the file,
Photoshop will initially look like
| | 02:34 | everything is perfectly fine.
| | 02:35 | But the second I start scrubbing my play
head I'll notice that the video disappears.
| | 02:41 | Here, let's go ahead and
scrub the play head here.
| | 02:45 | And you'll notice now I have a checkerboard.
| | 02:47 | Well, that's because these three files
contained videos that are now gone
| | 02:53 | in terms of their links.
| | 02:55 | In order to find out the video contained
within these layers, you have to pay
| | 02:59 | attention and realize these are smart objects.
| | 03:01 | So if I select to this mirror smart
object and Ctrl+Click or right-click
| | 03:07 | directly on the layer,
I can choose Edit Contents.
| | 03:11 | When I do that, I'll get a message just telling me
I need to save this file that I'm opening.
| | 03:16 | So, I'm going to click OK.
| | 03:18 | And here, now I'm getting
that reference, I'm missing 8517.
| | 03:23 | Well, if click Choose, I could
navigate to my, here we go,
| | 03:27 | 01_Video_Sources folder.
| | 03:29 | So here I'm going to go to Assets, and
there we go, 01_Video_Sources and it's 8517.
| | 03:36 | When I click OK and Open and click OK
one more time, it appears as though it's
| | 03:42 | re-linked but if I move my play head
here, you'll notice I actually can't
| | 03:46 | because this is changed to one frame.
| | 03:48 | This is one of those examples
where it's re-linked but it hasn't quite
| | 03:52 | functioned properly.
| | 03:53 | So I'm just going to press Cmd+Z or
Ctrl+Z to undo or go back in my history
| | 03:58 | and just select Open here.
| | 04:00 | I remember this file was 8517.
| | 04:03 | See it's also listed up here.
| | 04:05 | So what I'm going to do is close this
and I'm not going to save this and
| | 04:11 | in my original Photoshop document for
the mirror file, I'm going to Ctrl+Click
| | 04:16 | or right-click directly on the
layer and choose Replace Contents.
| | 04:21 | When I choose Replace, I can choose
any video file to replace this.
| | 04:25 | But since I want the exact same file
to be dropped in the same place,
| | 04:29 | I'm going to choose 8517.
| | 04:32 | When I do that it's automatically
going to replace the video file
| | 04:36 | that was in there before and now as I scrub
through my timeline, you'll notice that
| | 04:41 | the mirror video has been replaced
with the proper video file.
| | 04:45 | So if we want to see what Blur is,
I can Ctrl+Click on it and say
| | 04:50 | Edit Contents, then I click OK.
| | 04:53 | Okay, so this is 8519.
| | 04:54 | I'm going to click Cancel and close that.
| | 04:58 | So I'll right-click on the Blur layer,
say Replace Contents, choose 8519
| | 05:08 | and now Blur has been replaced.
| | 05:10 | To replace the last one, we'll replace Runway.
| | 05:13 | Now to see Blur, I'm going to scroll
down in my timeline with my play head.
| | 05:19 | And now you can see my Blur
video file has been replaced.
| | 05:22 | You can see it's this section right here.
| | 05:25 | Now if we move our play head to this
last section, this is the Runway video.
| | 05:30 | So instead of Ctrl+Clicking and finding
the number, I know two out of the three
| | 05:35 | of them has been re-linked properly.
| | 05:36 | So I'm just going to Ctrl+Click on
Runway and choose Replace Contents.
| | 05:42 | Now for the last one, this is 8524 and
I can click Place and sure enough the
| | 05:48 | Runway video has been replaced
and it's been successful.
| | 05:51 | So to summarize you can re-link Photoshop
files by either clicking the Choose button,
| | 05:56 | by opening a smart object and replacing
the missing file, or just by
| | 06:02 | right-clicking on the video layer
and choosing Replace Contents then
| | 06:06 | navigating to that specific file.
| | 06:08 | Before you finish with your project,
you want to make sure to save it so
| | 06:13 | all the updated links will be updated to
your current Photoshop document.
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|
1. Getting StartedWhy use video in Photoshop?| 00:00 | For quite a few versions now, Photoshop has
had the ability to open and edit video files.
| | 00:06 | This used to require Photoshop Extended.
| | 00:08 | But now with Photoshop CS6, video and
animation is natively supported in
| | 00:14 | both versions of Photoshop.
| | 00:15 | But before we jump in to exactly why you'd
want to use Photoshop with these features,
| | 00:20 | I just want to take one quick second
and explain how the rest
| | 00:23 | of this chapter set up.
| | 00:25 | Each of the subsequent videos is an
overview of the following chapters.
| | 00:30 | This will give us a good foundation
as we jump into each chapter
| | 00:33 | everything isn't brand new and we
can just move very quickly
| | 00:37 | through the rest of the course.
| | 00:38 | Now let's get back to exactly why
you'd want to use the video features
| | 00:42 | and animation features inside of Photoshop.
| | 00:45 | Now if you are an accomplished video
editor or motion graphics designer,
| | 00:48 | you're probably already familiar with some
of the core toolsets required to do your job
| | 00:53 | like Premier Pro for video editing
or After Effects for motion graphics.
| | 00:58 | Now using video inside of Photoshop isn't
something that's going to replace any of
| | 01:02 | your core toolsets.
| | 01:04 | What you might want to do for this
course is kind of pick and choose some
| | 01:08 | specific features that you might
want to use to add to your skill set.
| | 01:11 | For example, in Photoshop you can correct
lens distortion based on the specific
| | 01:16 | model of your camera and specific lens
you shot the footage with.
| | 01:20 | Otherwise, like I said, you'll probably want
to keep continuing using your main toolset.
| | 01:26 | Now the main reason why Photoshop
has added this feature is the fact that
| | 01:31 | there are millions of people that now
shoot video who never really had a need
| | 01:36 | to edit video before.
| | 01:38 | For example, anybody who has a
DSLR camera that shoots video.
| | 01:43 | See, a lot of those users are very
familiar with the interface of Photoshop
| | 01:47 | but they may not necessarily be
familiar with the process of editing video.
| | 01:51 | So now you can edit video inside of
Photoshop without having to trip over
| | 01:55 | learning a brand new interface.
| | 01:58 | Also if you're say a print designer and
you've never had to put anything in motion,
| | 02:02 | this is a great way to get started
with some of the basics for animation
| | 02:07 | like familiarizing yourself with key frames.
| | 02:10 | So for whatever reason you're interested
in learning video inside of Photoshop,
| | 02:15 | whether you're a seasoned professional
or someone new to video and animation,
| | 02:20 | the key to getting started has to do
with setting up your workspace which
| | 02:23 | we'll do in the next video.
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| Getting started| 00:00 | To get started using Photoshop to create
motion graphics, we need to make sure
| | 00:04 | our system is set up properly by setting
up some preferences and adjusting
| | 00:08 | our workspace in motion preset.
| | 00:10 | Let's start with preferences.
| | 00:12 | On the Mac if you go up to Photoshop
in the upper left corner, you can
| | 00:16 | choose Preferences.
| | 00:17 | Under Windows, it would be in the Edit menu.
| | 00:21 | Now let's go to Preferences
and choose Performance.
| | 00:25 | In the Performance area here, let's start
in the upper left corner, Memory Usage.
| | 00:30 | The more RAM your computer has, the
better the performance is going to be.
| | 00:34 | Now if Photoshop is going to be the
only application you're going to use,
| | 00:38 | you can increase the percentage.
| | 00:40 | I would just make sure to always leave
at least 20% for other applications.
| | 00:45 | Now come down to the Scratch Disks area.
| | 00:48 | This is really important.
| | 00:50 | Right now, the scratch disk Photoshop is
using is the Macintosh Hard Drive which
| | 00:55 | is where we have our operating system set up.
| | 00:58 | So I'm going to deactivate this as a
scratch disk and I will activate the Media drive.
| | 01:05 | Notice I couldn't deactivate the
Hard Drive until I activated Media.
| | 01:09 | Photoshop is always going to be looking
for scratch disks so as a general rule,
| | 01:13 | you'll want to use an external drive
or a drive that doesn't have your
| | 01:18 | system installed on it.
| | 01:20 | Now we happen to have an internal media drive
and so that's why I've chosen that to be active.
| | 01:25 | Also, faster drives will
make Photoshop work better.
| | 01:30 | So if you have a RAID array, you
want to make sure to choose that.
| | 01:34 | Now if you go over to the
right section here we have
| | 01:37 | Graphics Processor Settings.
| | 01:39 | And you want to make sure to use your
Graphics Processor and if you click in the
| | 01:44 | Advanced Options, you could see
there is a Drawing Mode option.
| | 01:48 | Now I'm going to leave mine set to Advanced,
but I want you to pay attention to this note here.
| | 01:53 | And basically what it's saying is
sometimes Photoshop may get a little choppy
| | 01:58 | in its playback if you're
using the Advanced settings.
| | 02:01 | So sometimes you might want to switch
this back to Normal or even Basic
| | 02:06 | if you're noticing some problems.
| | 02:08 | Now like I said, I'm going to leave
mine set to Advanced and choose OK.
| | 02:13 | Now if we go up to History and Cache,
as a general rule I'll tell you that
| | 02:17 | most of the time this set at its default
settings will work perfectly well.
| | 02:23 | Now one other thing we should check out
before we get out of our Preferences
| | 02:28 | and that's Units and Rulers.
| | 02:30 | Since we'll be working primarily with
video, let's go ahead and change our
| | 02:33 | Rulers from Inches to Pixels.
| | 02:37 | Now since I'm used to doing traditional
design, I'll leave my Type setting
| | 02:42 | to Points but some of you might prefer changing
your Type measurement number to Pixels as well.
| | 02:49 | So I'm going to leave mine
set to Points and then click OK.
| | 02:53 | So now that we have our Preferences set
up for Photoshop, let's look at how
| | 02:58 | we can change the interface.
| | 03:00 | If you go to Window pull down in the top
center of your screen, go to the second
| | 03:05 | area down under Workspace.
| | 03:07 | You want to make sure to choose Motion.
| | 03:10 | If this isn't already active,
make sure and click on Motion.
| | 03:13 | Now since I already have this active,
what I'm going to do is choose Reset Motion.
| | 03:19 | What this does is make sure that all of my
panels are set up in their default settings.
| | 03:24 | Now a faster way to change your interface
is to come to this pull down here in the
| | 03:29 | upper right hand corner.
| | 03:30 | Notice you have the same set of
options that we had by going to the
| | 03:34 | Window Workspace area.
| | 03:36 | Now if you look in the bottom part
of the interface we have a timeline.
| | 03:40 | On the left side of the timeline, I have
this little icon that looks like a filmstrip.
| | 03:45 | If you click on that, there's an
option to Add Media. So let's do that.
| | 03:49 | When we Add Media, I'm going to
navigate to my Exercise Files folder.
| | 03:54 | In there you'll want to navigate to your
Assets and let's look at our Video_Sources.
| | 04:00 | And let's load the Jet_Over.mov QuickTime file.
| | 04:04 | When we click Open, this is going to automatically
load this video clip into the timeline.
| | 04:11 | Now this has done two things.
| | 04:13 | The first thing, it's loaded video
so we can actually play it back within
| | 04:17 | Photoshop but the second thing, if we
go up under Image and go to Image Size,
| | 04:22 | you'll notice it's actually
set up the size of the document.
| | 04:26 | So it's set up for 1280 by 720 and
that's a standard setting for HD video.
| | 04:33 | So if I click OK we can go ahead and
preview this animation by clicking the
| | 04:39 | play button in the timeline.
| | 04:40 | Now if you have a slower system, this
may take a second to load into RAM.
| | 04:45 | When we press the play button, you'll
want to watch this little icon right here.
| | 04:51 | This is called the play head. Let's press play.
| | 05:05 | Now I'm just going to stop
playback here for a second.
| | 05:07 | If your system isn't playing this back
as smoothly as my system is, don't panic.
| | 05:13 | Usually the first time you play a clip,
Photoshop loads those frames into cache
| | 05:20 | and I know those frames are loaded
because of this blue kind of green line
| | 05:24 | that's popped up here.
| | 05:25 | Now if I go back and play this
one more time, it will playback
| | 05:30 | perfectly smoothly.
| | 05:33 | You can see that you're getting
realtime playback by looking down here in the
| | 05:37 | bottom of the timeline.
| | 05:39 | Anytime you don't get realtime
playback, this number will appear red.
| | 05:44 | Now one other thing with Photoshop when
you're playing back video, you may need
| | 05:48 | to toggle off the audio as you load
the frames in for the first playback.
| | 05:54 | A lot of times once you toggle this
off and then press play once and let all
| | 05:59 | the frames load, the next time you go to
play it, you can turn the audio back on
| | 06:04 | and it will play everything
smoothly, both audio and video.
| | 06:08 | So as you can see when it comes to
adding video into Photoshop, it does take
| | 06:12 | a quick second to configure your
Preferences but once you've changed your
| | 06:16 | Workspace to Motion, you're off to the races.
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| Working with multiple video clips| 00:00 | Now, if you're joining me from
the previous video, don't panic.
| | 00:03 | I wanted to show you what a project look like
when you had multiple clips in your project.
| | 00:08 | In these video, it's important to
just focus on some overarching terms
| | 00:13 | and understand that we will be getting
into the nuts and bolts of how to achieve
| | 00:18 | this exact project later on as we
move through some of the other chapters.
| | 00:22 | For right now, again, broad strokes.
| | 00:25 | So, when you're working with
Multiple Video Layers inside of a
| | 00:29 | Photoshop document, you'll have a group.
| | 00:31 | And if I select these Base Video layer
here, you can see it has a clipboard
| | 00:36 | and this is a video group.
| | 00:38 | Now, in the previous video we showed you
how to load videos into individual tracks.
| | 00:43 | Now, when you have more than one clip,
| | 00:46 | if I click and drag with my playhead
here, you can see that I have an edit.
| | 00:52 | Now, one of the nice things about working
with multiple video clips in a video group
| | 00:58 | like this is the fact that I can
change the order of these clips
| | 01:02 | extraordinarily easily.
| | 01:04 | If I click on this clip here, the Runway clip,
| | 01:07 | I can just drag it to the right if I
want it to be at the end of my sequence.
| | 01:11 | Look what happens when I do that.
| | 01:13 | It will automatically swap these two clips.
| | 01:17 | That's pretty easy, right?
| | 01:18 | Well, you can further layer things up
by having more than one video group.
| | 01:24 | So, for example here,
for Stills_Animated,
| | 01:27 | if I expand that in my Layers panel, you
can see I have still images that are set up.
| | 01:34 | But if we look at it in the Timeline
here and I scrub through, you can see that
| | 01:38 | those still images actually
have animation applied to them.
| | 01:42 | That's because we created a video
track with the still using Keyframes.
| | 01:49 | Now, we'll get into Keyframes in a little bit.
| | 01:52 | But I wanted you to see how Multiple
Video clips work together in the Timeline
| | 01:57 | and how you can actually add
still elements to a video group.
| | 02:02 | And even edit between those groups.
| | 02:04 | See if I zoom in on the Timeline here,
you can see I have a Fade, that's what
| | 02:09 | this graphic representation
is here on the right side.
| | 02:12 | So, if I scrub my playhead over the right,
this clip is going to fade out in its opacity.
| | 02:19 | And since I have a video clip underneath
it's revealing the video clip below.
| | 02:25 | So, when it comes to editing with
multiple video clips in Photoshop,
| | 02:30 | you can see things can get rather complicated
very quickly but there are some excellent
| | 02:35 | tools that will allow you to make
changes to the order of your edit very easily.
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| Correcting and stylizing video clips| 00:00 | As we move throughout this course, obviously,
we're going to stylize some video clips.
| | 00:04 | And you'll notice there are three
main ways of stylizing video clips.
| | 00:09 | So, let's check out these
three different methods.
| | 00:11 | We'll start by checking out our bottom
layer here which is the Mirror Layer,
| | 00:15 | it's the shot of a side view mirror.
| | 00:17 | And as I scrub through my Timeline here
you'll notice that the shot is black and white.
| | 00:22 | Well, if you look at the layer above
and turn the visibility off, notice that's
| | 00:26 | the layer that's actually
making this black and white.
| | 00:28 | This is called an Adjustment Layer.
| | 00:30 | If I double-click right here on this
little half circle, it will open up my
| | 00:35 | Properties tab and let me make
adjustments to this black and white application.
| | 00:40 | So, I could choose exactly what color
channels are getting the black and white
| | 00:44 | adjustments and how strong
the adjustments are going to be.
| | 00:49 | Now, if I move my playhead down to
the next clip you'll notice that clip
| | 00:53 | is not black and white.
| | 00:54 | The reason for this is two-fold.
| | 00:56 | First reason, this Adjustment layer is
clipped to that layer below meaning it's
| | 01:02 | only going to be applied to the layer below.
| | 01:04 | Also, it just happens to be below
the layer in the layer hierarchy.
| | 01:08 | If this were not clipped, I could
move it above the window layer and make
| | 01:11 | it black and white.
| | 01:12 | I would just need to make sure that
the length was covered in the Timeline.
| | 01:17 | When you clip a layer, notice you
can't see it in the Timeline, it's just
| | 01:21 | applied directly to the clip.
| | 01:23 | But yes, of course you can still make
adjustments just by double-clicking on
| | 01:26 | this little icon and making
adjustments in your Properties panel.
| | 01:30 | Okay, another flexible way of applying
adjustments is by using a Smart Filter.
| | 01:35 | So, if we click on this Runway clip
in the Layers panel and then move our
| | 01:39 | playhead down to that clip, and I know it's
this clip because it's outlined in the bold white,
| | 01:44 | notice I have a blur applied here.
| | 01:46 | I'm going to close my Properties panel
so we can see this a little more clearly.
| | 01:50 | Whenever you have a Smart Object, which
is this little icon here in the lower
| | 01:54 | right corner, you'll be able to apply
what's called a Smart Filter. And the way
| | 01:59 | these work, you go up to the Filter menu and
choose whichever ones aren't grayed out.
| | 02:03 | Now, the beauty of a Smart Filter, you can
turn it on and off with the eyeball here.
| | 02:10 | Now, I can also make adjustments if I
double-click on the name of the filter.
| | 02:14 | So here I double-clicked on the word
Gaussian and I could crank up the radius.
| | 02:19 | When I click Okay, now that
adjustment has been applied.
| | 02:23 | So, this too, is only applied to the
layer that it's actually applied to.
| | 02:28 | You can tell, because it's indented
here and again if I turn this off and turn
| | 02:33 | this on or turn this off and turn it on
you can see it's all just applied right here.
| | 02:38 | If I move my playhead down to the
next clip, of course it's not blurry.
| | 02:42 | But this clip also is stylized.
| | 02:44 | Notice, the kind of
pink-purple hue at the top.
| | 02:47 | That's because it has a layer style applied.
| | 02:50 | This two is only affecting this one layer.
| | 02:52 | Again, because it's indented here.
| | 02:54 | Layer effects allow you to make
adjustments to individual layers.
| | 02:59 | And of course if you double-click on the name
of the effect, you'll open up that Layer Style.
| | 03:04 | So, here I have a Gradient Overlay
applied and it's using a Blend Mode of
| | 03:08 | Hard Light and the Opacity is 40%.
| | 03:11 | So, notice I could make that stronger
or weaker just by adjusting the Opacity.
| | 03:15 | So, when I click OK, you can see
the layer style has been applied.
| | 03:19 | Now that we've covered three main ways
to stylize video in Photoshop, definitely
| | 03:23 | check out the chapter where we'll dive
more deeply into exactly when or why
| | 03:28 | we want to use each one of these techniques.
| | Collapse this transcript |
| Adding text, graphics, and animation| 00:00 | When it comes to creating graphics
inside your Photoshop documents, there are
| | 00:04 | a couple core tools that we'll be using.
| | 00:07 | We'll definitely create some graphics
using vector shapes and text.
| | 00:11 | But also, we'll be using a number of
techniques to actually create graphics.
| | 00:15 | Now, in this video I just wanted to
give you a broad overview of some of these
| | 00:20 | elements that you might be seeing, so
you won't be so nervous when we actually
| | 00:23 | jump into the chapter and start covering
some of the different techniques.
| | 00:27 | So, if we click in the Timeline down
here and scrub with our playhead,
| | 00:32 | the first graphic you'll see, we have a
piece of text with a vector shape.
| | 00:36 | And to see that shape, we need to
actually scroll down in the Layers panel.
| | 00:40 | And if you open up Group 1,
here you'll see I have a rectangle.
| | 00:44 | I know it's a vector shape because of this
icon that looks sort of like paths with points.
| | 00:49 | Now this graphic was stylized using a Layer
Style which will allow me to control color.
| | 00:55 | Using Layer Styles to colorize graphics
will allow me to actually create animation.
| | 01:01 | If we scroll down in the Timeline here,
once we get down to the word Remember here,
| | 01:05 | you can see I actually have
a style that I could animate.
| | 01:11 | Now, if we scrub forward in the Timeline
here, you can see one of the elements
| | 01:16 | that we can create our animated brush strokes.
| | 01:19 | So, let's look at those.
| | 01:20 | If I look at Brush Strokes here, they
don't look particularly complicated.
| | 01:24 | But if we scroll to where the brush
strokes are in the Timeline, notice
| | 01:28 | I have groups, Brush1 and
Brush2, which are collapsed.
| | 01:32 | Well, let's look at Brush1.
| | 01:34 | And if I scroll down here, here I'm
going to make the Timeline a little
| | 01:37 | larger so you can see it.
| | 01:39 | I have some very short
little sections of graphics.
| | 01:42 | If we zoom in the magnification on the
Timeline you can see the animation is
| | 01:46 | actually built by just editing
still graphics all together.
| | 01:51 | And these were just painted
using the Brush tool.
| | 01:53 | It's actually editing these together
end-to-end that created the animation.
| | 01:58 | Now remember when I talked about
animating the style or the color of a word?
| | 02:03 | Well, if we scrub forwards here, this
word Travel changes from white to pink.
| | 02:09 | So, let's look at that.
| | 02:11 | If we scroll up here, here I have the
word Travel and if we scroll down in the
| | 02:16 | Timeline, here let's scroll
around till we find Travel.
| | 02:19 | There we go, there's Travel.
| | 02:21 | Notice here I have Keyframes for the style.
| | 02:24 | So, as I move towards the beginning
it's white and as I move here towards
| | 02:29 | the end it's actually pink.
| | 02:31 | We can see that style by opening the
Layer Styles on the layer in the Layers panel.
| | 02:37 | When we double-click the word color
overlay, here you can see I have a
| | 02:42 | pink color at 100%.
| | 02:44 | Now, one last thing that we'll actually
check out, the final title graphic.
| | 02:49 | When we drag the Timeline down, this
title graphic is nothing more than just
| | 02:54 | text that lives over our background.
| | 02:56 | What's really drawing your eye to
the scene is the fact that I have this
| | 03:01 | vignette around the outside edge.
| | 03:03 | And that's something we'll definitely build
in the video editing and stylizing chapter.
| | 03:08 | But combining that with the graphics
is what actually created this
| | 03:13 | end title graphic element. So, all right.
| | 03:15 | Once we get to the Graphics chapter
we'll dive a little more deeply and
| | 03:18 | I'll show you how we can re-create
all of these different elements.
| | Collapse this transcript |
| Understanding masks and compositing| 00:00 | One of the ways that you'll create
animation inside of Photoshop is using Masks.
| | 00:04 | Now again, in this video we're
going to cover Masks in broad strokes.
| | 00:08 | So definitely, if you find this interesting,
jump to the Mask chapter and check out
| | 00:14 | what we've been doing.
| | 00:14 | Masks in Photoshop are used to hide or
reveal certain areas of an image and
| | 00:20 | we'll constantly use this to our advantage as
we create motion graphics inside of Photoshop.
| | 00:26 | To show you what I'm talking about,
let's look at the two main kinds of Masks
| | 00:30 | that we'll be using.
| | 00:32 | The first kind of mask is called a Layer Mask.
| | 00:35 | And if we go to this layer down here
that says Window in our Layer's panel,
| | 00:40 | if I turn the transparency off and on you
can see that this layer is actually
| | 00:46 | creating the color
that's inside of the number 5.
| | 00:50 | Now the way this works, if you hold down
Alt on Windows or Option on the Mac and
| | 00:54 | click in this window you'll see this
white area is what's actually revealing
| | 01:00 | what's over here on the left side.
| | 01:02 | The way Masks work, you have the Mask
which determines transparency and then you
| | 01:07 | have the Fill which actually gets
painted into anything that's transparent.
| | 01:12 | Now, anything that's white will
allow the fill to show through.
| | 01:16 | But anything that's a different shade,
like gray, is going to allow a different
| | 01:23 | level of transparency.
| | 01:24 | So 50% white which is, you know, a middle
gray is going to give you 50% transparency.
| | 01:30 | Now, to turn off the Layer Mask I'm going
to hold down Shift and click on the Mask.
| | 01:35 | And then I'll click back over here on
the left side so you can see exactly
| | 01:40 | what's filling the number 5.
| | 01:42 | Now, part of the reason this isn't
completely taking over the images the fact
| | 01:46 | that the opacity is set at 58%.
| | 01:49 | But if I turn the Mask back on just by
clicking on it once, you can see the Mask
| | 01:53 | is cutting out everything except
for the area inside the number 5.
| | 01:58 | So, that's a Layer Mask.
| | 02:00 | Now, another kind of Mask that we're
going to use is called a Clipping Mask.
| | 02:04 | And the way this works, the layer
that is the fill is above the layer that
| | 02:09 | determines the transparency or the mask.
| | 02:12 | So, here I've got a group of layers.
| | 02:14 | So, if I open that you can see I've
got a rectangle in here and the rectangle
| | 02:18 | has some effects and
filters and the like applied.
| | 02:21 | But basically if we select Rectangle 1
one and change its Blend mode from Multiply
| | 02:27 | up to Normal, you can see that
I have a blurry rectangle here.
| | 02:31 | And as I scrub in the
Timeline that rectangle is moving.
| | 02:35 | And as it's moving it's
revealing this outer line.
| | 02:40 | And the reason we're not seeing a
rectangle is because the rectangle was using a
| | 02:44 | Blend mode like Multiply.
| | 02:46 | So, this layer above is actually using
the transparency data of this rectangle
| | 02:54 | to actually reveal itself.
| | 02:56 | So, as you can see with Masks we have
Clipping Masks which again, just use the
| | 03:02 | layer below to determine the
transparency, and we have Layer Mask.
| | 03:06 | And like I said before if you find
this interesting definitely check out
| | 03:11 | our entire chapter dedicated to Masks.
| | Collapse this transcript |
|
|
2. Video Editing in PhotoshopUsing audio for inspiration| 00:00 | As a designer, one of the constant
challenges you'll face when looking at
| | 00:04 | a blank canvass is inspiration.
| | 00:06 | Now for motion graphics, since things
are moving, one of the things I like to do
| | 00:11 | is use audio for that inspiration.
| | 00:14 | If your interface doesn't look like
this currently, make sure to go to the
| | 00:18 | upper right-hand corner and set Motion
as your Workspace or, just to be safe,
| | 00:25 | you could choose Reset Motion with Motion
set up just to make sure everything is in
| | 00:29 | its default location.
| | 00:31 | Now, in order to add audio to our project,
we first need to add a video track.
| | 00:37 | So, if you look in the Timeline go to
the icon that looks like a little film
| | 00:41 | strip and click on the
button and choose Add Media.
| | 00:45 | Now, navigate in your Exercise
Files folder to the Assets.
| | 00:49 | And first we'll go to Video Sources and
we'll add our Jet Over, QuickTime file.
| | 00:54 | When I click Open, we'll
go ahead and open this file.
| | 00:59 | With the video clip loaded,
look in the bottom of the Timeline.
| | 01:02 | Notice we have an audio track.
| | 01:05 | And instead of a video clip icon we
have a little note icon and if we click on
| | 01:10 | that, you guessed it, we can add audio.
| | 01:14 | So, let's click on Add Audio and again
in our Exercise Files folder under Assets,
| | 01:21 | we can go to the Audio folder and
here we have an AudioTrack_OUT.wav file.
| | 01:26 | When we click open, notice the
audio has been added into the Timeline.
| | 01:32 | With our audio and video loaded, let's
press the play button in the Timeline
| | 01:36 | so we can preview what we have so far.
| | 01:51 | Now, I noticed there was some stuttering
in the audio and I wanted to let you
| | 01:55 | know that, that actually
was in the actual clip itself.
| | 01:59 | And if your Photoshop didn't load all
the frames into preview, you might want to
| | 02:05 | just toggle the audio off, load all the
frames by pressing play and then toggle
| | 02:11 | the audio back on one more time.
| | 02:14 | Once you have a smooth preview loaded,
there's one other thing you should check
| | 02:18 | out doing when working with
audio inside of Photoshop.
| | 02:22 | And that's actually creating markers.
| | 02:25 | Now, in order to create markers in the
Timeline, you want to enable a specific
| | 02:30 | function called Comments.
| | 02:32 | So, if you go to the flyout button
in the upper-right corner of the
| | 02:34 | Timeline, click on that.
| | 02:37 | There is an option for Comments.
| | 02:40 | So, you want to edit a Timeline comment
and when we go ahead and do that we can
| | 02:47 | add our first comment.
| | 02:48 | So, let's call this Marker 1.
| | 02:49 | When we click OK notice we can't see
anything in the Timeline just yet.
| | 02:57 | In order to actually see your comments,
you need to go to the flyout menu again
| | 03:02 | in order to show options, you
need to enable the Comments Track.
| | 03:06 | Now, in here if I double-click on this,
notice I can open up my Timeline
| | 03:11 | comment and make an edit.
| | 03:13 | I can also click OK and just click
right on the Comment and move it anywhere
| | 03:18 | else in the Timeline.
| | 03:20 | Now, most of the time when I add a
comment or a marker I want to notate what's
| | 03:26 | going on in the audio.
| | 03:28 | So, let's play this clip back one
more time by pressing the Play button.
| | 03:32 | And then as the music moves more
quickly that's where we'll want to slide
| | 03:36 | our Comment Marker.
| | 03:42 | So, it's right around 4 seconds, so
I'll move my playhead to 4 seconds and
| | 03:47 | then move my marker.
| | 03:48 | Notice as I drag, the marker will snap
to the playhead right at 4 seconds.
| | 03:54 | To add additional comments, all you
have to do is just move your playhead
| | 03:58 | anywhere else in the Timeline and
then click the Diamond button here to the
| | 04:02 | left of the stopwatch.
| | 04:04 | When you click the diamond button
you'll get an option to add another comment.
| | 04:09 | I'll call this one Slow
Down Marker and click Okay.
| | 04:15 | And again, we can preview this.
| | 04:21 | So, I can go ahead and reposition my
playhead and just make sure that this
| | 04:26 | marker is exactly where the music
starts to slow down, right at 8 seconds.
| | 04:35 | So, with our comments in the Timeline
and our audio in the project,
| | 04:39 | we're actually set up to begin editing
the rest of our project and using this
| | 04:45 | inspiration to create some
pretty interesting Motion graphics.
| | Collapse this transcript |
| Adding and navigating clips| 00:00 | Editing together multiple video clips
inside the Photoshop can be quite a fun
| | 00:04 | task made possible by the use of video groups.
| | 00:08 | Now, most of the time when you're
trying to decide what clips to add into
| | 00:12 | Photoshop, you'll probably want to
be able browse through those clips.
| | 00:16 | Now, there are two options within
Photoshop to be able to do this.
| | 00:20 | One is the Bridge and the
other is the Mini Bridge.
| | 00:23 | Now, if we go up to the File menu,
let's choose Browse in Mini Bridge.
| | 00:29 | If you look at the bottom of the
interface, notice the Mini Bridge panel
| | 00:32 | is popped-up and if you don't currently
have Bridge running, you should see a
| | 00:37 | button here to launch Bridge.
| | 00:39 | So, let's go ahead and select that.
| | 00:41 | If you're not seeing clips, make sure
you navigate to the Exercise files folder
| | 00:46 | and in Assets folder, you want
to navigate to your video sources.
| | 00:52 | Now, click on the clip 8517.
| | 00:54 | In order to preview this clip from the
Mini Bridge, we can press the Spacebar,
| | 00:59 | but before we do that, I just want to
give you a heads up that this is going to
| | 01:03 | make this maximize on the screen
and playback with audio and video.
| | 01:08 | So, let's press the Spacebar on our keyboard.
| | 01:12 | It may take a second to load on your
computer, but once it loads, you'll get a preview.
| | 01:21 | Now, you can press the spacebar again to
stop the preview and jump back into our project.
| | 01:27 | Now, there are couple different ways
I can add these clips into my project.
| | 01:31 | One of the things I want you to note
is the current state of the project that
| | 01:35 | you're trying to add your video files to.
| | 01:38 | What I mean, if you are starting from
scratch and you haven't created a project,
| | 01:43 | there is a really neat command to
automatically open all of those video layers
| | 01:48 | into one separate project.
| | 01:50 | I'm just going to show you
that right now really quickly.
| | 01:53 | I'll select 8517 and then
press the Shift key and click 8524.
| | 02:00 | This way I have three clips selected.
| | 02:02 | Now, if I right-click on anyone of
those clips, I can go to the Photoshop
| | 02:07 | option and choose Load
Files into Photoshop Layers.
| | 02:11 | When we choose that, Photoshop will
automatically create an untitled document
| | 02:16 | and copy all three of those
video clips into that document.
| | 02:21 | Notice these clips are now stacked in
my Layers panel and if we look in the
| | 02:26 | Timeline, they're stacked in the
Timeline one on top of each other.
| | 02:30 | Now, this isn't what I want to do in
this specific instance, but before we
| | 02:35 | jump back to the other project,
I want to show you something.
| | 02:38 | If we go up under Image, under Image
size, this project is 1920 by 1080.
| | 02:45 | That's because that was the size
of those Quicktime video files.
| | 02:49 | When I click Cancel, now let's look at
our 02_02_Add_Video Photoshop document
| | 02:55 | and in here, if we go up under Image and
choose Image Size, notice this is 1280 by 720.
| | 03:02 | Now, I'm pointing this out because
when we click Cancel, I'm going to go
| | 03:06 | back into my Mini Bridge here and to
add these three video files directly
| | 03:11 | into my Photoshop document, all you have to
do is drag and drop them up into our canvass.
| | 03:17 | When we let go, notice I'll
get a Bounding box that pops up.
| | 03:22 | This is automatically scaling
the size of this video file.
| | 03:27 | Now, in order to set this into Photoshop,
I'm just going to press Enter on my keypad.
| | 03:33 | When I press Enter, now I have
a second Bounding box pop up.
| | 03:37 | This is going to happen for
each clip that I've dragged.
| | 03:40 | So, let's just press Enter
on our keypad two more times.
| | 03:44 | Now, with those clips actually loaded
into our project, let's make sure the
| | 03:49 | Timeline panel is active by selecting
it in the bottom of our interface.
| | 03:53 | Now, you'll notice I have three
Smart Object Layers and if I turn off
| | 03:58 | the visibility of each layer, you can see
they're stacked right on top of each other.
| | 04:03 | Well, it's nice that they were
automatically resized and placed into smart
| | 04:09 | objects, but I want to edit this
in time according to the Timeline.
| | 04:13 | So, I'm going to make my Timeline a
little bit larger just by hovering my mouse
| | 04:17 | over this dark gray line here and click
and drag up just so we can see things
| | 04:23 | a little more clearly.
| | 04:24 | Now, if we select anyone of these video
clips, let's select 8524 and drag this
| | 04:31 | down into our video group.
| | 04:33 | Drag it down so it just
appears right above Jet Over.
| | 04:37 | See how I get that line in
between Video Group 1 and Jet Over.
| | 04:42 | When I let go, I've now add this clip to
my Video Group 1 and look what's happened.
| | 04:48 | If I zoom out in the Timeline
just by clicking and dragging on the
| | 04:52 | magnification, Jet Over is the first
thing I see in the sequence and then
| | 04:58 | 8524 is the next thing.
| | 05:00 | Now, if I want to see 8524, I need to
move my Playhead over to that video clip.
| | 05:07 | Now, in order to actually see this, I
need to make sure there aren't any other
| | 05:12 | video layers above it in the Timeline.
| | 05:15 | So, I've move my Playhead way
down the Timeline to around 4619.
| | 05:20 | Now, this is a clip of a runway.
| | 05:23 | So, this is a perfect time to
actually start naming our clips.
| | 05:27 | Now, before we do that, I want to enable
keyboard shortcuts to make this process
| | 05:32 | move a little more quickly.
| | 05:34 | Go to the upper right corner of the
Timeline panel and click on the flyout button.
| | 05:39 | In here, you want to
enable Timeline shortcut keys.
| | 05:42 | With this enabled, anytime I select a
clip in the Timeline, I can press the
| | 05:48 | Up arrow on my keyboard to move my
Playhead to the beginning of that clip.
| | 05:53 | I can also press the Down arrow
to move to the end of that clip.
| | 05:58 | Any clip I have selected, either in my
Layer panel or in my Timeline, when I use
| | 06:03 | the Up arrow or Down arrow, I will move
my Playhead to the beginning or
| | 06:09 | end of that individual clip.
| | 06:11 | Now, let's rename these clips.
| | 06:13 | I want to scrub through this top clip
here and as you can see, it's kind of a
| | 06:18 | blurry shot of the window,
so I'll just rename this Blur.
| | 06:21 | To rename a Layer, you can just
double-click on it and type the name.
| | 06:25 | So, I'm going to type Blur and in
order to move to the next clip, I'll just
| | 06:30 | press the Down arrow, that way my
Playhead move all the way to the end
| | 06:35 | and that's the Mirror clip.
| | 06:36 | So, let's rename that Mirror and then
this other clip, I'll select down here
| | 06:42 | 8524 and I'll press my Down arrow again
to just move to the last frame of that
| | 06:48 | and that's the runway,
so we'll call that Runway.
| | 06:51 | Now, we have all of our clips labeled.
| | 06:54 | We've enabled some shortcut keys, the
last thing I want to do is just further
| | 06:59 | drive home how video groups work in
terms of determining the order of the
| | 07:04 | images in your Timeline.
| | 07:06 | So, let's drag the Mirror, Smart
Object Layer down in between Jet Over
| | 07:11 | and Runway and you guessed it,
| | 07:13 | if we zoom out in the Timeline here,
you'll see the Mirror video clip is now in
| | 07:18 | between these two clips.
| | 07:20 | If I drag the Blur clip all the way
down to the bottom of my layers here.
| | 07:25 | You can see it's now the very first
clip that we'll see in the Timeline.
| | 07:31 | If I want to see that clip, I can just
press the Up arrow and automatically move
| | 07:36 | my Playhead to the beginning of that Timeline.
| | 07:39 | Now, before we go, I'll show you one
other thing if you need to change the
| | 07:43 | order of the clips.
| | 07:44 | You can click and drag on a clip and
drag it forwards or backwards directly
| | 07:48 | in the Timeline to change its order
or, by all means, you can go to the
| | 07:53 | Layers panel and just change its
hierarchy and it will move in the
| | 07:57 | Timeline accordingly.
| | Collapse this transcript |
| Editing multiple clips| 00:00 | When it comes to editing video, getting
started with footage in your Timeline,
| | 00:04 | honestly, it's kind of one of a hardest parts.
| | 00:07 | Usually, you have a blank Timeline
and it's quite a chore to just choose
| | 00:12 | the individual clips that you're
going to be working with.
| | 00:15 | Thankfully, in this project, we
already have four clips to work with.
| | 00:18 | What we need to do is edit these down,
so they work a little bit better
| | 00:23 | with our background audio.
| | 00:24 | Now, in order to preview what's going
on in the scene, I'm just going to
| | 00:28 | scrub my Playhead by clicking on in the Timeline
and scrubbing through each of the clips.
| | 00:34 | Now, let's see if we can make
some sense of some of our clips.
| | 00:38 | As you can see this first one is kind of
blurry footage out the side of a car window.
| | 00:44 | The next one is a flyover for an
airplane and then we have our car here,
| | 00:51 | which is kind of a rear view or side view
mirror shot and then we have runway.
| | 00:56 | Well, I think a natural progression
would be driving to the airport, so in
| | 01:02 | order to set things up in the scene,
we want to start with our car shot
| | 01:06 | which is this mirror one.
| | 01:08 | So, to make this the very first thing
that we see, I'm going to drag it down
| | 01:12 | to the bottom of my Layer hierarchy.
| | 01:15 | Now, that's at the front.
| | 01:16 | I think it make sense to go from a
view out the side window of the car to
| | 01:21 | another view out the side window with the car.
| | 01:24 | So, let's move our Playhead to the end of our
Mirror clip just by pressing the Down arrow.
| | 01:31 | Now, we can select the next clip and press
the Up arrow and you can see we have our blur.
| | 01:37 | From there, I think we want our Runway
clip to show that we're at the airport
| | 01:42 | and then our flyover for the end.
| | 01:45 | So, let's just choose the Jet Over and
bring that up to the top in the Layers
| | 01:49 | panel and now we have our basic edit.
| | 01:52 | Now, in order to cut this down, let's
look at what's going on in our project.
| | 01:57 | If I hold down Shift as I drag, I
can snap my Playhead to a comment here.
| | 02:03 | And, if I double-click on the comment,
you can see it just says Marker 1.
| | 02:07 | Now, to preview this, I'm
going to press the spacebar.
| | 02:10 | Now, if you go to the flyout menu in
the Timeline panel, you want to make sure
| | 02:15 | your Timeline shortcut keys
are enabled by this checkmark.
| | 02:18 | Now, when I press the spacebar, I'll get a preview.
| | 02:25 | And, don't panic if you're getting
slow frame rate that's just because
| | 02:28 | it's loading up into RAM.
| | 02:30 | Notice, I also have the audio muted.
| | 02:33 | So, I'm just going to stop Play
back here by pressing the spacebar.
| | 02:36 | Move my Playhead up to the start of
the Timeline and enable my audio and just
| | 02:41 | press the spacebar to preview.
(Video plays)
| | 02:49 | Okay, so I remember this first
marker is when the music picks up.
| | 02:53 | So, I want to have an edit where we can
have edits that get faster and faster.
| | 02:58 | So, we definitely need to trim this mirror shot.
| | 03:01 | So in order to trim the outpoint of
this Mirror shot, if you hover your mouse
| | 03:05 | over the right edge,
| | 03:07 | you'll get this bracket with the two arrows.
| | 03:10 | Now, I know I'm trimming the right end
of this mirror shot because the bracket
| | 03:15 | is pointed to the left.
| | 03:17 | See if I hover my mouse to the right,
you can see the bracket is pointed to the
| | 03:21 | right, signifying the next clip.
| | 03:23 | So here, I'm going to hover over the right
edge of my mirror clip and just click and drag.
| | 03:28 | And notice, in Photoshop, I get this
awesome preview into the pops up and in the
| | 03:33 | upper left corner of the preview window,
it gives me exactly when this is ending
| | 03:39 | as well as the duration of the clip overall.
| | 03:42 | And, it's also giving me a visual
reference of the preview, so I'm just going
| | 03:47 | to drag this all the way to the end
here, and now you can see we have our clip
| | 03:52 | we're our car is moving and then I have
course want it to pick up more quickly
| | 03:58 | here through this blurry footage, but I
don't need too much of that blurry footage.
| | 04:02 | So, I'm just going to move
my Playhead to around here.
| | 04:04 | It doesn't specifically matter exactly
where because we're just trying to get
| | 04:08 | a general sense of pacing.
| | 04:10 | So, I'm going to zoom in on the Timeline
just by increasing my magnification and
| | 04:15 | I'll click on the right edge, making
sure my bracket is pointed to the left and
| | 04:20 | trim my Blur in here a little bit and
since the music is picking up pace,
| | 04:26 | I want my edits to start picking up pace.
| | 04:28 | So, if I click and drag on this right edge,
you can see I have a duration of one
| | 04:33 | second and 17 frames.
| | 04:35 | So, this next Runway clip, I
want it to be shorter than that.
| | 04:39 | So, I'm going to zoom out here a little
bit further, so I can see the right edge
| | 04:43 | of my Runway clip and drag that down,
so it's duration is under one second.
| | 04:50 | Now here, I'm running into an issue
where I can't set the duration quite right
| | 04:54 | and that just has to do with my magnification.
| | 04:57 | So, I'll leave it at two seconds and
eight frames and just zoom in here and then
| | 05:02 | I can trim it a little more precisely.
| | 05:04 | So, here let's do that around 105.
| | 05:08 | It will be a subtle difference of
length, but a difference nonetheless.
| | 05:12 | And then for this Jet Over,
here I'm going to zoom back out,
| | 05:15 | I want this clip to actually
end as the plane flies over.
| | 05:19 | So, I'm going to line at the right edge of this.
| | 05:22 | So, I'm actually going to trim in on
the start point of this layer just by
| | 05:25 | clicking and dragging.
| | 05:27 | Now, if I drag this all the way over
towards my Playhead here, you can see
| | 05:32 | I've now trimmed to the start point
and when I let go, check it out.
| | 05:36 | It's automatically rippled this down
so I'm getting a full clip and no space.
| | 05:45 | So, let's preview what we've done.
| | 05:48 | I'm going to move my Playhead to the
beginning of the Timeline and press the spacebar.
| | 05:52 | Now, in order to make this not so
choppy, I'm going to disable audio for the
| | 05:56 | first time as I load this up.
| | 06:00 | Okay, now I'm going to enable audio
and press the spacebar one more time.
| | 06:15 | Okay, not quite exactly what I'm
looking for, but it's pretty close.
| | 06:20 | Now, I want to show you one last thing
before we jump out of our edit here
| | 06:24 | and that's the ability to choose the
specific section of the video you want to see
| | 06:29 | without necessarily changing
it's in or it's out point.
| | 06:33 | This function in editing is
known as slipping or sliding.
| | 06:36 | So, if we select our third clip here,
I'm going to zoom in just so I can see it
| | 06:41 | more clearly and the way this works,
you'll have to use a keyboard shortcut.
| | 06:46 | On the Mac, the keyboard
shortcut is Option and Command.
| | 06:50 | On Windows, you'll want to hold Alt and Control.
| | 06:53 | So, here on my Mac, I'm going to hold
Opt+Cmd and I'm going to click
| | 06:57 | in the thumbnail for this Runway
and just click and drag to the left.
| | 07:01 | And, what this is doing is sliding the
video clip underneath of the Edit points.
| | 07:07 | So now, as we scrub through here, notice
the timing hasn't changed, but now the
| | 07:12 | airplane is much further
along in it's progression.
| | 07:15 | So, we just successfully created a Slip edit.
| | 07:19 | Now, one side note with Slip edits, it's
really important to understand that your
| | 07:23 | Edit points have to be shorter
than the length of the clip.
| | 07:27 | Otherwise, you don't have any extra
footage on one end or the other to actually slip.
| | 07:33 | So, believe it or not, if it's one of
those late nights and you're not exactly
| | 07:37 | sure why it's not slipping or sliding,
you might want to just pay attention and
| | 07:41 | double-check that the length of your
clip is actually longer than the amount
| | 07:46 | that you have edited in your Timeline.
| | 07:48 | So, as I said at the beginning of this
video, the hardest part of creating an
| | 07:52 | edit is just getting clips in the Timeline.
| | 07:55 | The fun really begins when you start
using this editing tools to trim down
| | 08:00 | exactly when clips start and stop
to really start refining your edit.
| | 08:05 | Now, as we continue to move through
this course, we will continue to add polish
| | 08:09 | by adding more elements and
tweaking this edit piece by piece.
| | Collapse this transcript |
| Editing still images| 00:00 | Now, you've seen how helpful using Video
Layers can be when it comes to actually
| | 00:04 | trying to create and edit in your Timeline.
| | 00:07 | And, just because we've been working
with QuickTime files, doesn't necessarily
| | 00:11 | mean that we can't use the
same techniques with still images.
| | 00:16 | Yes that's right, you can actually
use still images in a video group.
| | 00:21 | So, to get started, let's add
some still images to our Photoshop.
| | 00:26 | Let's go up under the File
menu and choose Browse in Bridge.
| | 00:30 | Navigate to your Exercise Files
folder and in the Assets folder, go to the
| | 00:35 | Stills folder and here, you'll notice
we have many different still images.
| | 00:41 | If you're Bridge doesn't look like
this, make sure you're in the Essentials
| | 00:44 | Workspace and in the lower right corner,
make sure you have this button enabled
| | 00:49 | to show the content as thumbnails.
| | 00:51 | Alright, now I've given you many
different stills to choose from,
| | 00:55 | we're not going to use all of these at the
specific time, but feel free to push
| | 00:59 | yourself and use multiple stills and go back
and make adjustments to your heart's content.
| | 01:05 | I'm just trying to give you more
than you would ever possibly need.
| | 01:08 | Now, in terms of the edit, these stills are
being added to help spice up the edit,
| | 01:12 | so as the music picks up,
we can cut in some of these generic
| | 01:18 | travelling pictures.
| | 01:20 | And, we'll create a series of fast
cuts with all these still images that
| | 01:24 | I'll just kind of create that
subliminal "I need to get away" message.
| | 01:28 | So, let's select Travel 39 and I'm
going to press the Command key, so I can
| | 01:33 | select multiple images and
move around in my window.
| | 01:36 | So here, I'll select 61, 75, 65, 138,
Breakfast and of course we need the
| | 01:47 | quintessential wing photograph.
| | 01:49 | I think that's plenty
enough to get started right now.
| | 01:52 | So, with all those selected, we can
right-click and say Open With and if we
| | 01:59 | choose Open With Photoshop, it's
automatically going to just open each one
| | 02:04 | into it's own document and that's
not at all what we want to do.
| | 02:07 | So, I'm going to click off of here,
making sure these are still all selected
| | 02:12 | and go up under the Tools menu.
| | 02:13 | In here, under Photoshop, what we can do
is choose Load Files into Photoshop Layers.
| | 02:19 | This will copy all of those files into
their own Photoshop document as one project
| | 02:27 | with all of the different layers.
| | 02:29 | So, using this technique requires two steps.
| | 02:32 | We'll have to copy this photo yet
again into our stills project, but this way
| | 02:38 | I can kind of see exactly what it is I'm
dealing with and only do that copy process once.
| | 02:44 | So, as I click through here by turning
off the visibility of these different
| | 02:48 | layers, you can see I have all
different kinds of sizes to my images and this
| | 02:54 | one image is extraordinarily large.
| | 02:56 | So, I'm going to resize this right now
before we bother copying it into our project.
| | 03:01 | So, I'll select Travel 65 and
press Cmd+T on my keyboard to open up
| | 03:05 | my Transform Controls.
| | 03:07 | Now, rather than zooming out, I'm just
going to make sure to maintain my aspect
| | 03:11 | ration by selecting that little chain
here and I'll choose 50% for it's size.
| | 03:18 | If I move this up over to the upper
left corner, I can now click and drag and
| | 03:22 | I'm holding Shift as I click and drag
on this corner to make sure it's a little
| | 03:26 | bit larger, roughly the same
sizes the other images. Okay.
| | 03:30 | Now, with all of my images selected here,
I can duplicate this into our other project.
| | 03:37 | Now, it's important to pay attention on
what layer is selected in the Photoshop
| | 03:41 | document that you're copying the files to.
| | 03:43 | So, let's jump back into our
Photoshop document, Edit Stills.
| | 03:48 | In here, I want to make
sure to select Video Group 1.
| | 03:52 | This way when I copy the Layers, they'll
all be copied above this selected video group.
| | 03:57 | So, let's go back to Untitled 1.
| | 03:59 | I'll click on Breakfast, hold down Shift
and click on Travel 75 to make sure all
| | 04:04 | Layers are selected and then just
right-click or Ctrl+Click on the Mac on
| | 04:08 | anyone of the Layers and
choose Duplicate Layers.
| | 04:12 | In here, let's choose the Edit Stills
Photoshop document as the destination.
| | 04:18 | When I click OK, now the stills will
be copied into this Photoshop document
| | 04:24 | and sure enough, they've all been
added right above our video group.
| | 04:28 | And, if I make my Timeline larger here,
you can see they've all been set to a
| | 04:34 | length of five seconds.
| | 04:36 | Well, since I want this to edit very,
very quickly, what I'm going to do is
| | 04:41 | trim all of these layers at once.
| | 04:43 | And, the way to do this is to move
my Playhead forward in the Timeline.
| | 04:47 | I'm going to move it to around 10 frames.
| | 04:51 | Now, to be precise on Frame 10, let's
just double-click on the Set Time option
| | 04:57 | down here and change this to 10.
| | 05:00 | Now, even though I have multiple clips
selected, if I click on the right side
| | 05:05 | and try and drag on one.
| | 05:06 | Notice, it's only going to
change the duration of that one layer.
| | 05:10 | So, I'll just press Cmd+Z to undo.
| | 05:12 | What I want to do is just use the Trim command.
| | 05:15 | So, if we click the Scissors button at
the top of the Timeline, now I've trimmed
| | 05:20 | all these layers and notice in my
Layers panel, I have copies and the copies
| | 05:27 | are the sections that I want to get rid of.
| | 05:29 | To select this really quickly, I can
click anywhere in this gray area of my
| | 05:34 | Timeline and click and drag to kind
of draw a Lasso around two of this or
| | 05:39 | I could just more quickly select the
Layers named Copy in the Layers panel by
| | 05:45 | clicking on a Layer and holding the
Command key on the Mac, Control Key on
| | 05:48 | Windows to select any layer that was
copy and then just drag it to the trash.
| | 05:53 | I'll do this for this last
two and drag them to the trash.
| | 05:59 | Now, we've trimmed this so
they're only 10 frames long.
| | 06:02 | There's one last step we need to do
if we want to sequence this in an edit.
| | 06:07 | And let's just add those to a video group.
| | 06:11 | So, if I click on Travel 75 and then scroll
up and press Shift and click on Breakfast.
| | 06:18 | With all those layers selected, go
back to the Timeline panel and look at the
| | 06:22 | icon that looks like a film
strip on this Breakfast layer.
| | 06:25 | If we click on that, we have an option
to create a new video group and we want
| | 06:30 | to create a new video group
based on the clips we have selected.
| | 06:34 | So, when we click New Video
Group from clips, check it out.
| | 06:39 | It's automatically going to sequence those
images and they're all set up ready to edit.
| | 06:47 | Now, in order to see this a little
more clearly, what I'm going to do is
| | 06:51 | just make my canvas a little larger and
I'll press the spacebar to load up a preview.
| | 07:02 | And, since that was rather rough, I'll
disable audio and load that up one more time.
| | 07:06 | Okay, so now if we preview this, you
can see, I've got clips cutting and I need
| | 07:16 | to resize some of my still images.
| | 07:19 | But since we have them in our
Timeline, we're set up for edit.
| | 07:23 | Now, the only thing we have to do is
actually animate these stills and get the
| | 07:28 | proper coverage, so we can see the
specific areas of each individual element
| | 07:33 | and we'll do that in the next video.
| | Collapse this transcript |
| Animating still images| 00:00 | In the last video, we placed some stills in
our project and got a basic edit together.
| | 00:06 | To show you what I'm talking about,
let's click on the Playhead and drag
| | 00:09 | through our Timeline here.
| | 00:11 | And as you can see, I have a couple
stills and some background video.
| | 00:16 | Now, in this video, we're only going
to be dealing with these stills, since
| | 00:20 | they're quite obviously not
placed or sorted through yet.
| | 00:24 | So, let's turn off our video group layer 1.
| | 00:28 | Let's just disable the eyeball
there and collapse Video Group 1.
| | 00:32 | In the Layers panel if you expand
Video Group 2, you can see I have
| | 00:37 | a couple different stills.
| | 00:39 | Now, in order to quickly move through
these stills, we'll use some keyboard
| | 00:44 | shortcuts and select our different
stills in the Layers panel.
| | 00:49 | So, let's start by selecting our Breakfast
still which is the last one in this sequence.
| | 00:54 | If we press the Down arrow here, you can
see this is the outpoint for this still.
| | 01:00 | Now, this isn't framed
quite the way that I want.
| | 01:02 | So, I'm going to tap the V key on
my keyboard to make sure that I have
| | 01:06 | the Move tool selected.
| | 01:08 | Now, if we click and drag anywhere in
the canvas here, you can see we can
| | 01:11 | reposition this layer and I'll
just reposition this kind of like so.
| | 01:18 | Now, I want to do a move on this image,
but before we do that, let's go back and
| | 01:24 | see if we can't pare down some of
the images that we're working with.
| | 01:28 | So, select Image 138 and press the Down arrow.
| | 01:33 | This image looks pretty good.
| | 01:34 | So, we can leave it alone and just rename it.
| | 01:37 | Let's double-click on it and call it
Hoover, since this was the Hoover Dam.
| | 01:42 | Select Travel 39 and press the Down
arrow on our keyboard to select its outpoint
| | 01:48 | and with the Move tool selected, let's
just bring this up in our scene and bring
| | 01:54 | it up till we get to the feet.
| | 01:56 | Okay, that looks perfect.
| | 01:58 | Let's rename this Shoes and select Layer 40.
| | 02:02 | If we press the Down arrow here,
you can see well, this isn't quite
| | 02:07 | covering the entire scene.
| | 02:09 | So, if we press Cmd+T to open up the
Transform option, I always want you to
| | 02:14 | pay attention to this value up here.
| | 02:16 | See, how it's set up 100%.
| | 02:18 | If I go to scale this image up here,
I'm just going to click in middle of the
| | 02:23 | image to reposition it and as I
click and drag on one of the corners,
| | 02:26 | I'm going to hold Shift+Opt or Shift+Alt on the
PC and this will scale around the center point.
| | 02:34 | Notice as I drag this up, I've scaled
this up 133% so when I press Enter on my
| | 02:41 | keypad to set that, I need to
verify that the quality is good enough.
| | 02:46 | In order to automatically zoom my
canvas to 100% magnification, I'll press
| | 02:51 | Cmd+1, it's Ctrl+1 on the PC.
| | 02:54 | Now, I can press the spacebar and
reposition and, as you can see, I'm getting
| | 02:59 | some pretty rough aliasing right there,
so I'll just delete this layer.
| | 03:03 | Just click and drag it to the Trash to delete.
| | 03:06 | Now, if we select Travel 65, we can
press the Down arrow and as you can see,
| | 03:12 | this image, too, is a little grainy.
| | 03:16 | I'm going to resize my canvas to fit in this
area by pressing Cmd+0 or Ctrl+0 on the PC.
| | 03:24 | Now, when I reposition this, I can see,
okay it's grainy, but it's still kind of
| | 03:29 | a cool image so I'll leave it alone.
| | 03:31 | Let's double-click its name
and rename it LightBridge.
| | 03:37 | Okay, select Travel 61 and press the Up
arrow or the Down arrow, just so we can
| | 03:43 | see it in the canvas.
| | 03:45 | As you can see here, I've got kind
of a double exposure thing happening.
| | 03:49 | This is one of those iPhone
pictures where the iPhone was still moving.
| | 03:53 | So, since I was trying to capture HDR,
it didn't line up quite properly.
| | 03:58 | So, we can delete that by
dragging it to the Trash.
| | 04:00 | Now, I've pared this down and
notice as I'm deleting images, it's just
| | 04:06 | sliding all of the other images down the Timeline,
so I don't have any gaps between my images.
| | 04:12 | That's wonderful.
| | 04:14 | Now, if I want to add one more image to
my sequence, I can jump back into Bridge
| | 04:19 | and do so rather quickly.
| | 04:21 | But before I do that, I want to
choose exactly where I'd like to add that
| | 04:25 | image, and since LightBridge and
Shoes are two kind of abstract images, I'm
| | 04:31 | going to select LightBridge, so when I place
my image, it's between LightBridge and Shoes.
| | 04:37 | So, I'll jump over to Bridge and in the
Bridge here, let's choose another image.
| | 04:43 | Here, if we choose this Road image, we
can place this and the way you can place
| | 04:48 | an image is just by right-clicking on it.
| | 04:50 | So, as long as you're only selecting one
image and bridge, you have an option to Place.
| | 04:55 | So, when we choose Place, we'll
choose Place of course in Photoshop.
| | 05:00 | Now, when we go back into Photoshop,
sure enough it added it to the right place.
| | 05:04 | It's giving me the bounding box so I
can resize it and it's telling me the
| | 05:08 | magnification of that image.
| | 05:11 | So, I can scale this up by clicking
and dragging in one of the corners.
| | 05:15 | Just make sure to hold Shift and Option
or Shift and Alt as you do so and
| | 05:20 | it will scale around the center point.
| | 05:23 | Now, press enter on your keypad to set this.
| | 05:26 | If I wanted to check whether this is smooth,
I could again press Cmd+1 to zoom up to 100%.
| | 05:33 | Okay this looks relatively okay.
| | 05:35 | So, I'll press Cmd+0 to scale
back to fit within my canvas.
| | 05:40 | Now, I want you to notice a couple
things when we place this image.
| | 05:44 | First thing, if you look in the Layers
panel, this image is now a Smart Layer.
| | 05:48 | When you place an image in Photoshop from
Bridge, it creates it as a Smart Object.
| | 05:53 | Also, it defaulted to the full five seconds.
| | 05:58 | So, I want this image to be a little
shorter, I'm going to click on the right
| | 06:02 | side of this image and just change the
duration back down to around 10 frames.
| | 06:08 | Now, when I let go, everything will
ripple down and drop in accordingly.
| | 06:15 | So, we've got our sequence sort of set up.
| | 06:17 | Now, what we need to do is
actually animate between multiple stills.
| | 06:22 | So, first thing, I want to animate this image.
| | 06:26 | I want it to move down so I can see the train.
| | 06:30 | To do this rather quickly, I'm going
to start by clicking and dragging in the
| | 06:34 | canvas and notice I made a cardinal mistake.
| | 06:37 | Since, I didn't have this layer
selected, it didn't reposition this layer.
| | 06:42 | So, I'm going to make sure
I have this layer selected.
| | 06:45 | Now, when I click and drag, I can drag
my train up here and I'll have it towards
| | 06:50 | the bottom of the scene here
and let's zoom into the Timeline.
| | 06:54 | On the right side of every object in
our Video Group, there is this arrow and
| | 07:00 | we click on the arrow, we
can add motion to that image.
| | 07:05 | So, if I click on the pull down,
I want to do a pan and to choose that,
| | 07:10 | I'll just click Pan.
| | 07:12 | Now, what this does, is it allows me
to specify what direction this image
| | 07:16 | is going to move in;
| | 07:17 | left or right or up or
down, this is called a Pan.
| | 07:20 | Now, I want this to move up, so I'm
going to change the direction to 90 degrees.
| | 07:26 | Now, when I click and drag, notice
the image is moving up in the scene.
| | 07:31 | Now, if I want this to happen more
quickly, look to the left of the layer
| | 07:36 | name in the Timeline.
| | 07:37 | There's a triangle.
| | 07:38 | If I click on that, I see my Keyframes.
| | 07:42 | This second keyframe determines
where this move is going to end.
| | 07:47 | So, with my Move tool selected, if I
click and drag to move this image up,
| | 07:53 | now when I move through, you can see
this image is going to move more quickly.
| | 07:58 | Now, I made a mistake as I dragged,
I dragged to the right slightly.
| | 08:01 | So, I'm going to drag it back to the
left and just make sure I'm covered on both
| | 08:06 | the left and right sides and that way as
this image moves, I've got it going.
| | 08:11 | Now, since it stops right there on
the last frame, I'm going to move this
| | 08:15 | keyframe down one frame.
| | 08:18 | Okay, so now we've got a
move for our first image.
| | 08:21 | On this LightBridge, I want to do another
move where this image kind of zooms out.
| | 08:27 | So, just to make sure that I can zoom
out, I'm going to press Cmd+T just to
| | 08:31 | see the edges of that image really quickly.
| | 08:34 | Now, since I'm not trying to change
this right now, I'll just press Escape.
| | 08:38 | I just did Cmd+T so I
can quickly see the edges.
| | 08:41 | Now again, click on the right side,
under Motion, let's choose Zoom.
| | 08:47 | Now, for the Zoom, I want to do a zoom out.
| | 08:51 | Now when I clicked and dragged, notice
the image is moving away which is exactly
| | 08:56 | what I wanted and, you guessed it, if I
wanted to change this, I can click on the
| | 09:00 | arrow to the left of the LightBridge
and make sure that my Playhead is over the
| | 09:05 | second Keyframe and press
Cmd+T to adjust the scale.
| | 09:09 | But notice, as I do that, it has
scaled out all the way to the end.
| | 09:14 | So, if I wanted this to be more drastic,
I'm just going to press Escape,
| | 09:19 | I would move to the first Keyframe by
clicking this arrow in the lower left
| | 09:23 | corner of the Timeline.
| | 09:24 | That will automatically move my
Playhead to the first Keyframe.
| | 09:29 | And now, when I press Cmd+T,
I could make this a little larger.
| | 09:32 | Instead of clicking and dragging in
the canvas, I'm going to make sure to
| | 09:37 | maintain my aspect ratio by clicking
on this Lock icon here and change my
| | 09:43 | magnification to 100%.
| | 09:45 | Now, when I press enter on my keyboard,
I've now set that as the new value
| | 09:51 | for my start point.
| | 09:54 | So, as you can see, I've got one move
moving up and then another move zooming out.
| | 10:00 | Now, that we've added some animation to
our still images, things are set up so
| | 10:05 | we can actually start refining our
Edit even more by learning how to edit
| | 10:10 | between multiple video groups as well
as adding transitions between different
| | 10:15 | items within our Timeline and
we'll do that in the next video.
| | Collapse this transcript |
| Editing with multiple video groups| 00:00 | Editing with multiple video groups
gives you flexibility in the editing process
| | 00:04 | in that you can move each of the individual
sections as a self-contained group.
| | 00:10 | Now, if we look at Video Group 2 and
click and drag with our playhead here,
| | 00:14 | you'll notice I have some stills
that have been animated.
| | 00:18 | And if you're joining me from the previous
video, you'll notice I have now added
| | 00:22 | moves to all of these stills.
| | 00:24 | And if we move our playhead off of Video
Group 2, notice Video Group 1 is not visible.
| | 00:30 | So let's turn on that visibility
in the Layer's panel.
| | 00:34 | Now, what we need to do is have Video
Group 2 actually edited at the proper
| | 00:40 | time in the sequence.
| | 00:42 | So if we move our playhead to around
four seconds, this marker is indicating
| | 00:48 | where the music actually picks up.
| | 00:51 | So let's start by moving everything in
Video Group 2 down to start around four seconds.
| | 00:57 | And in order to do that, we need to actually
click on each of the layers in the Layers panel.
| | 01:02 | So let's click on Travel 75 and hold
down Shift and click on Hoover making sure
| | 01:07 | all of them are selected in the Layer's panel.
| | 01:10 | Now, since they're all outlined in
white, when I click and drag one in the
| | 01:14 | timeline, I can drag it down
to start at around four seconds.
| | 01:19 | Now, even though I'm close, if I want
this to snap to the playhead,
| | 01:24 | I have to click on the left most
clip and then hold down Shift.
| | 01:28 | And as I hold Shift, it'll
snap right to the playhead.
| | 01:32 | Okay, now let's preview what we're looking at.
| | 01:35 | I'm going to move my playhead back to the
beginning and turn off audio so when
| | 01:39 | I press the spacebar, it'll load up the video
frames in the cache for smooth playback later on.
| | 01:45 | Once those frames are loaded, press
the spacebar to stop playback, enable
| | 01:50 | your audio, move back to the
beginning of the timeline and
| | 01:54 | press the Play button to play this back.
| | 02:06 | So, that was starting to look pretty cool.
| | 02:08 | The only problem is we've
completely covered up this one clip.
| | 02:12 | Now, in order to move these last clips
over to the right so we can actually see
| | 02:18 | the visibility, we need to not only
select those clips but hold down Shift and
| | 02:24 | click and select any of the subsequent
clips that are further down the timeline.
| | 02:29 | See, here, let me just click off
of these clips for a second and just
| | 02:33 | select these two clips.
| | 02:34 | I'm going to click on one
and Shift+click on the other.
| | 02:37 | If I try and drag to the right, when I
let go, it's not going to give me any space
| | 02:42 | because by default, Photoshop is trying to
ripple everything so there's no spaces.
| | 02:46 | Now, it thinks I'm trying to reorder
these so if I drag it all the way to the
| | 02:51 | right, notice it's moved the jet
over which is not what I want to do.
| | 02:54 | So I'll just press Cmd+Z on the Mac,
Ctrl+Z on the Windows to undo.
| | 02:58 | What we need to do is select all
three and then drag to the right.
| | 03:04 | I don't want these to appear
until the end of our Video Group 2.
| | 03:09 | So I'm going to hold Shift as
I'm dragging so it just snaps.
| | 03:12 | And now, look at what Photoshop's done.
| | 03:15 | If I zoom out here, it's changed the
overall duration of my animation
| | 03:20 | which I don't want to do.
| | 03:21 | Now, in order to get this back down to
roughly 10 seconds, what I need to do
| | 03:27 | is trim some of these other video clips.
| | 03:29 | So let's go back to the beginning of the
timeline and load this up so we can see
| | 03:35 | exactly where things are right now.
| | 03:37 | I'm just going to press the spacebar
and if it's not smooth, I'll wait 'till all
| | 03:41 | the frames are loaded and go back again.
| | 03:56 | Okay. So as you can see, this clip starts way
too late and as the audio starts picking
| | 04:01 | up here, yes, we have more edits.
| | 04:04 | But I'm thinking this one section,
may be a little long of this rearview mirror.
| | 04:09 | Let's go and press the spacebar
one more time and check it out.
| | 04:13 | So, one way we can address this
taking so long is by adding a transition.
| | 04:25 | Since I want this to be kind of a slow
intro into our animation, I'll do a slow
| | 04:30 | fade at the beginning of this video clip.
| | 04:32 | To add transitions, you can look in the
timeline and the button to the right of
| | 04:37 | the Scissor button is the Transition button.
| | 04:40 | If you click on that,
notice I can Fade With Black.
| | 04:44 | So that's what I want to do, Fade With Black.
| | 04:46 | So I'm going to click and drag on Fade
With Black and drag it right down to the
| | 04:51 | left side of my mirror clip.
| | 04:52 | Now with that selected, notice that's
a one second fade and I specified that
| | 04:58 | down here in the lower left section.
| | 05:00 | See, one second is the default setting.
| | 05:03 | But don't worry, even though we've already
applied this effect, we can change
| | 05:07 | the duration just by hovering our mouse
over the right side of that transition.
| | 05:12 | See this ledge that kind of appeared?
| | 05:14 | That's letting me know it's fading in.
| | 05:17 | So if hover over the right side, I can
click and drag the duration of that fade
| | 05:22 | and so it's now a two second fade.
| | 05:24 | Now, just so I can get more smooth
playback, I'm going to turn off the audio
| | 05:29 | and press the spacebar and load these
frames in the video and then turn the
| | 05:33 | audio back on again.
| | 05:34 | So let's check this out one more time.
| | 05:38 | When it's finished loading, if you
press the Home key, that'll move your
| | 05:41 | playhead back to the beginning of the timeline.
| | 05:43 | If you're not getting these key commands
to work properly, go to the flyout
| | 05:47 | button and just make sure that you
have the timeline shortcut keys enabled.
| | 05:50 | All right, now I'm going to press the spacebar
with my audio enabled and check things out.
| | 06:06 | Okay.
| | 06:07 | So as I'm looking at this, I think
this clip right here is a little too long.
| | 06:12 | So I'll just click and drag on
the right side to trim this down.
| | 06:15 | And I could continue tweaking this
but I think you get the editing process.
| | 06:20 | You want to go through and change the
durations and trim the different elements
| | 06:24 | in the scene so your edits kind of line
up to what makes you feel comfortable.
| | 06:29 | Now, there's one other thing that I
want to show you before we get out of
| | 06:32 | this video and that's how to add
transitions between Video Groups
| | 06:37 | and it's actually relatively simple.
| | 06:38 | See, when you have a Video Group
that's above another Video Group, it's just
| | 06:42 | like any other layer in the layer hierarchy.
| | 06:45 | Whatever's on the top most layer
is what's going to be visible.
| | 06:48 | So, in order to add a transition, all we
have to do is zoom in to the individual
| | 06:54 | layer that you want to add the transition on.
| | 06:57 | And then go to my transition here and
here we can just add let's say a Cross Fade.
| | 07:02 | Well, if I try and add that,
it's not going to let me add that.
| | 07:06 | So what I need to do is just add a Fade,
now what I can do is click on my Blur
| | 07:14 | layer and drag that back to the left
underneath the fade of the other layer.
| | 07:20 | See this way, as my layer for Video
Group 2 starts to fade out, my Blur layer
| | 07:26 | will actually start to come in.
| | 07:28 | And notice as I click and drag on my Blur
layer, I can't drag it to the left at all.
| | 07:33 | That's because I'm already at
the start point of this layer.
| | 07:37 | So what we need to do is slip the content
of this layer so I have some more
| | 07:43 | footage to work with.
| | 07:45 | Now, if you've been going to the training,
you'll remember this command,
| | 07:49 | Cmd+Opt on the Mac or Ctrl+Alt on Windows.
| | 07:52 | So I'm holding Cmd+Opt and I'm going to
click and drag on the thumbnail and
| | 07:56 | I'm dragging to the left.
| | 07:58 | It's hard to see but what this is doing is
choosing a different section of that blur footage.
| | 08:04 | Now, if I click and drag to the left, I
can extend my edit so it actually exists
| | 08:10 | underneath of this fade.
| | 08:12 | So now, as I click on my playhead, I
can scrub through and you'll see, as this
| | 08:18 | piece of footage fades, the Blur
layer underneath actually transitions in.
| | 08:24 | So I encourage you to continue going
through the different elements in this
| | 08:28 | scene and adding transitions.
| | 08:31 | Also, if you feel like messing with
the durations or the in or outpoints,
| | 08:35 | definitely, edit till your heart's content.
| | 08:37 | The whole point of this is to get
you comfortable moving around within
| | 08:41 | Photoshop, within Video Groups and
transitions between multiple video groups.
| | Collapse this transcript |
|
|
3. Correcting and Stylizing VideoStylizing individual clips with Smart Filters| 00:00 | When it comes to stylizing your video
footage, you really have to go no further
| | 00:03 | than filters within Photoshop.
| | 00:05 | There is just one little tip I'm
going to give you about using filters,
| | 00:10 | and that's to convert your video into a Smart
Object before you apply that filter effect.
| | 00:16 | To show you what I'm talking about,
let's go to the Layers panel and make sure
| | 00:20 | we have the Jet_Over video selected.
| | 00:22 | Press the Up arrow on your keyboard
to move the playhead to the first frame
| | 00:25 | of that video layer.
| | 00:27 | Now, if your playhead didn't move,
click on the fly out from the Timeline panel
| | 00:32 | and make sure you have enabled
your Timeline short cut keys.
| | 00:35 | Now, let's look at this layer
as we apply a filter to it.
| | 00:40 | If I go up under Filter, I could
choose Blur and choose Motion Blur.
| | 00:45 | When I choose Motion Blur, I can go ahead
and choose a Distance as well as an Angle.
| | 00:53 | So if I wanted this to look like it
was kind of shaking all over the place,
| | 00:57 | I could create a funky angle like so.
| | 00:59 | So I'll just leave these settings and press OK.
| | 01:02 | Now, if you look at this layer, you can see
it has an icon that looks like a film strip.
| | 01:08 | This icon tells you that this is a Video layer.
| | 01:11 | Now, what it's not telling you is that
when you apply filters to Video layers,
| | 01:18 | if you move one frame in one direction or one
frame in another, that filter will disappear.
| | 01:25 | And that's because without this layer
being a Smart Object, it thinks you only
| | 01:30 | want to affect that one frame.
| | 01:33 | Now, since I don't want to apply this
effect to one frame, I'm going to go up to
| | 01:37 | my History button over here on the upper
right corner of the interface and just
| | 01:41 | revert my History back to the Open option.
| | 01:44 | Now, I can select our Jet_Over video
layer and press the Up arrow on my keyboard
| | 01:50 | to move my playhead.
| | 01:53 | Now, in order to apply this filter to
the entire video clip, just right click
| | 01:58 | on the Jet_Over layer and
convert it to a Smart Object.
| | 02:02 | When we do that, now if I go up
under Filter, I can go to Blur
| | 02:08 | and then choose Motion Blur.
| | 02:10 | Also, notice I can't apply a
Lens Blur to the Smart Object.
| | 02:14 | Certain filters and effects are just
unable to be applied to Smart Objects.
| | 02:19 | Let's choose Motion Blur one more time.
| | 02:22 | Now, with this value set at 179, we
can click OK and look underneath the
| | 02:28 | Jet_Over video layer.
| | 02:30 | I have an eyeball for Smart Filters.
| | 02:33 | If I turn that visibility off, you
can see I've turned that filter off.
| | 02:38 | Now, Motion Blur is listed here and there's
another visibility eyeball for that as well.
| | 02:44 | That's because you can apply multiple
Smart Filters to one individual layer.
| | 02:49 | Now, the real flexibility comes from
the standpoint that I can double-click
| | 02:54 | on the words Motion Blur and change
anything that I want about these properties.
| | 03:00 | So here, I'll make this Blur really intense.
| | 03:03 | We'll do something around
340, okay, and click OK.
| | 03:08 | Now, another interesting thing about the way
Smart Filters work, you can mask the filter.
| | 03:15 | So if I click on this white box, this is
a Mask, and what this will allow me to do,
| | 03:21 | whatever is white will show the
Motion Blur, but whatever is black,
| | 03:27 | will hide the Motion Blur.
| | 03:28 | So I'm going to grab my brush and
press D to reset my color chips and then
| | 03:34 | I'll just reverse them by pressing X to
make sure I have black as my foreground color.
| | 03:41 | Now, in order to make this brush larger,
I'm just going to use the right bracket key.
| | 03:45 | And now I'll click and
drag to paint in my canvas.
| | 03:51 | Now notice, I have a black
circle around this filter.
| | 03:55 | If I drag, notice anything that's
within that circle will not have the
| | 04:01 | Motion Blur applied, but anything
outside will be applied.
| | 04:05 | Now, there's one other cool thing in
addition to being able to paint Masks
| | 04:09 | for your Smart Filters and
that's adjust the blend mode.
| | 04:13 | So if you hover your mouse over these
two lines here in the lower right section
| | 04:17 | of the Motion Blur option, if you double-click,
notice now I have Blending Options.
| | 04:24 | So here, the Blend mode is set to Normal.
| | 04:27 | If we change this to multiply it's
going to blur the dark areas of the image.
| | 04:32 | See how the dark areas
have this blurs coming off.
| | 04:35 | But the lighter areas will stay sharp.
| | 04:38 | Now, in order to see this more clearly,
I'm just going to click OK and click
| | 04:43 | in my Mask and press X to swap my colors
down here, and I'll just paint this back in.
| | 04:50 | Okay, so to disable this Smart Filter,
I'll turn off its visibility and then
| | 04:56 | turn it back on to enable it.
| | 04:58 | So notice with the Blend mode
applied, now the darker areas are blurry.
| | 05:03 | But if I press Cmd+1 to zoom in to 100%,
notice the edges of the very light
| | 05:09 | bright lights are not
blurred at all by the Motion Blur.
| | 05:13 | It's just the overlapping black
areas that are blending back in.
| | 05:17 | So the lesson here is the fact that
Smart Filters give you more flexibility.
| | 05:22 | So whenever you're thinking about
applying a filter to any one of your layers,
| | 05:27 | you want to go ahead and
convert it to a Smart Object.
| | 05:30 | That way when you apply the
filter, it's now a Smart Filter.
| | Collapse this transcript |
| Using adjustment layers for individual clips| 00:00 | Inevitably, you'll end up having to color
correct some of the images in your sequence.
| | 00:06 | And when you're working in a non-linear
environment like this where you're
| | 00:09 | editing pieces to appear back-to-back-
to-back, a lot of times, you don't want
| | 00:14 | to make those adjustments until you
can see how each individual object fits
| | 00:18 | within the entire piece.
| | 00:19 | So let's look at our project the way
it is right here and then we're going to
| | 00:24 | use some Adjustment layers to correct
individual clips within our sequence.
| | 00:27 | Now, I've already cached this so
you don't have to wait for that.
| | 00:31 | I'm just going to press the spacebar to
play this back and we can check it out.
| | 00:35 | Press the spacebar to stop playback.
| | 00:36 | Aside from the audio issues which we
haven't even gotten to yet, there are some
| | 00:53 | level issues that are going on here
between each of the individual shots.
| | 00:58 | So if I scrub my playhead just by
clicking and dragging, notice we have
| | 01:02 | this kind of dark rainy shot here at the
beginning and then it comes right into
| | 01:06 | this really bright train shot.
| | 01:09 | And so, what I want to do is kind of
match these two shots a little more closely.
| | 01:13 | And the easiest way to do that is to make an
adjustment to the brightness of this image.
| | 01:18 | Overall, I want the background to
kind of have this sort of dark feel.
| | 01:22 | So let's go to our first clip
in Video Group 2 and click on it.
| | 01:26 | And notice, the train layer is automatically
selected in the Layers panel.
| | 01:31 | In order to apply an adjustment to
this one individual clip, we want to use
| | 01:35 | an Adjustment layer.
| | 01:36 | And the way you apply that, just go
down to the bottom of the Layers panel
| | 01:41 | and click on this button that
looks like a half-filled-in circle.
| | 01:43 | In here, we can go up to Levels.
| | 01:46 | Now, notice the Properties panels opened up.
| | 01:49 | Now, I'm not going to dive way deep
into color correction and brightness
| | 01:53 | adjustment and things like that, there
are plenty of titles within the lynda.com
| | 01:58 | library that dive way into color correction.
| | 02:01 | In here, we're just going to go on
some of the basics for correcting
| | 02:04 | this individual image.
| | 02:05 | And I really, in particular, want
you to understand exactly how these
| | 02:09 | adjustments are applied to this
clip within an animated sequence.
| | 02:14 | So to get started, let's
deal with the brightness.
| | 02:16 | If we're looking at the levels here, there
are two main areas we want to focus with.
| | 02:21 | This first area here is called the
Histogram and this line down here
| | 02:26 | controls the Output Levels.
| | 02:28 | Now, the way the Histogram works, all of
the brightness information in the scene
| | 02:32 | is represented in Histogram.
| | 02:34 | On the left-hand side, this
controls the darkness in the image.
| | 02:38 | If I click on that little black arrow
there and drag, you can see it makes
| | 02:42 | the dark levels darker.
| | 02:43 | And then the right side
here deals with highlights.
| | 02:45 | If I drag it to the left, it makes
certain pixels from this part over, brighter.
| | 02:51 | Since there's a lot of information here
on the right side, I can tell this image
| | 02:55 | is extraordinarily bright without
ever having to look at this image.
| | 02:58 | What we need to do is actually go down
here to the Output Levels and click and
| | 03:03 | drag on the brightness slider.
| | 03:05 | If I click on this little white arrow
and drag it to the left, notice it's
| | 03:09 | making the brightness not quite as bright.
| | 03:11 | As I make that adjustment here, you can
see in the overall Histogram, I've sort
| | 03:16 | of dragged the brightness down to the left.
| | 03:19 | Now, this appears to be matching a
little more closely what I was looking for.
| | 03:23 | If we scrub in the Timeline by clicking
on the playhead here, you can see it's
| | 03:27 | not quite as jarring going
from one clip to the next.
| | 03:31 | Now, we've got the basics down, but
let's pay attention to how this is
| | 03:36 | applied to the layer.
| | 03:37 | If we look in the Layers panel, we have our
train Smart Object and our levels adjustment.
| | 03:42 | Now, if we look in the Timeline here
and open up Video Group 2, notice there
| | 03:48 | is no other layer to make adjustments to
this level over the animation in the Timeline.
| | 03:54 | That's because this is
clipped to the train layer.
| | 03:57 | And the way this works, if we select the
Levels Adjustment layer and go up to the
| | 04:01 | Layer pull-down menu, about half way down
is this option to release the Clipping Mask.
| | 04:08 | When I click on this, notice it's
no longer clipped to the train layer.
| | 04:12 | And if I drag this up out of the video
group, you can see I actually have
| | 04:17 | a separate layer for my levels adjustment.
| | 04:20 | It just happens to be trimmed at
the exact length of this one clip.
| | 04:24 | Now, I didn't want to do that so I'm
just going to go ahead and move this levels
| | 04:28 | adjustment back down to my train
layer right above the train layer.
| | 04:32 | And I'm going to go up under
Layer and choose Create Clipping Mask.
| | 04:36 | The way they work, Clipping Masks will
automatically clip to the layer below.
| | 04:40 | Now, there's one last
thing with how this is applied.
| | 04:44 | Let's go ahead and close the Properties
panel just by clicking on the buttons
| | 04:47 | so we can see our image as a whole.
| | 04:49 | If I click and drag on the playhead here,
notice the adjustment is beautifully
| | 04:53 | applied over the entire image no matter
where the image moves there are no edges
| | 04:58 | to that adjustment or anything like that.
| | 05:00 | That's because this Mask over here
on the right is completely white.
| | 05:04 | Now, this box, I use the term mask, actually
allows me to paint in this adjustment.
| | 05:11 | And the way masks work, whatever is
white will allow the adjustment to show
| | 05:14 | through the entire layer.
| | 05:16 | And then anything that's black
will paint that adjustment out.
| | 05:21 | Now, there's one "gotcha"
when it comes to animation.
| | 05:23 | If I paint in this Mask,
something funny will happen.
| | 05:27 | So let's go ahead and do that.
| | 05:29 | If you click in this little thumbnail
making sure you have the little white
| | 05:32 | corners, that's letting you know that
you have the Masks selected, go ahead
| | 05:36 | and select your brush, and make sure you
have the default colors set for your color
| | 05:41 | chips, and then click on this arrow to
swap the black color to the foreground.
| | 05:46 | Now, when we click and drag, I'm
painting black into the Mask here.
| | 05:51 | Now, if I wanted to brighten up these
clouds this is a great way to paint that
| | 05:55 | darker adjustment out of this one section.
| | 05:58 | The only problem with this, when I
click and drag on my playhead, notice the
| | 06:02 | adjustment isn't moving with the layer.
| | 06:06 | Here, let me paint a little
more clearly here so you can see.
| | 06:09 | As I drag, notice that adjustment
is not moving with the layer at all.
| | 06:13 | So the way to get around this if you
actually need to paint on the Mask and
| | 06:19 | paint in a specific area of an adjustment
is to edit the Smart Object itself.
| | 06:24 | Now, to do that, here, I'm just going
to delete this levels adjustment
| | 06:27 | by dragging it to the trash.
| | 06:29 | With the train layer selected, if we right
click on the layer we can say Edit Contents.
| | 06:36 | When we edit the contents, Photoshop
is going to give us this menu that
| | 06:40 | basically says if you want to make
adjustments to this, you can, just
| | 06:44 | make sure to save it when you're
finished. So I'll click OK.
| | 06:46 | Now, notice I have a separate layer that's
been opened up here that has my entire image.
| | 06:51 | Now I can make my Levels adjustment.
| | 06:54 | Here, let's bring the brightness
down with my Mask selected.
| | 06:58 | I still have black and my brush
selected here, I can paint in the clouds.
| | 07:02 | And now, when I click Save,
I can go back into my adjustment
| | 07:08 | correction document.
| | 07:10 | And here, notice I have the bright
clouds that have been painted in, but
| | 07:14 | if I scrub, now they're moving with the animation.
| | 07:18 | So as you can see, using Adjustment
layers is a great way to actually make
| | 07:23 | corrections to individual clips.
| | 07:26 | Just remember, when it comes to animation,
if you need to paint in certain areas
| | 07:30 | of the adjustment, you want to
edit the Smart Object and then Save.
| | 07:35 | That way they'll be edited back
in to your original animation.
| | Collapse this transcript |
| Using adjustment layers to stylize multiple video clips| 00:00 | Now, if you're joining me from the
previous video, I just want to let you know
| | 00:03 | that I have gone ahead and made adjustments
to some of the subsequent clips
| | 00:08 | just to kind of get things to
match a little bit more.
| | 00:11 | Now, in this video we're going to cover
how to make adjustments to all of
| | 00:15 | theclips overall as a whole.
| | 00:17 | And in order to do that, I want
to collapse my video groups here
| | 00:21 | on the right-hand side.
| | 00:22 | Now, just because I haven't been
naming things up to this point, let's rename
| | 00:27 | Video Group 2, Stills_Animated
and Video Group 1, Base_Video.
| | 00:35 | So that way I just know this is the Base
Video layer and this have the animated stills.
| | 00:40 | Okay.
| | 00:41 | Now, make sure to select
the Stills Animated group.
| | 00:45 | Now, when we add a new Adjustment
layer such as this Color Lookup adjustment,
| | 00:50 | notice this adjustment has been applied above
the Stills Animated group and Base Video layer.
| | 00:56 | And if we look here in the Timeline,
if I scroll up and down with my mouse wheel,
| | 00:59 | you'll see that this adjustment is going
to be applied to all of the layers below.
| | 01:06 | And I know this because, again, it's
covering all of the entire Timeline.
| | 01:12 | Now to understand what we've applied,
let's look at the Color Lookup here
| | 01:16 | in the Properties panel.
| | 01:17 | Now, if you look at the first option
here that's selected, 3D LUT file.
| | 01:23 | LUT stands for Lookup Table.
| | 01:25 | And basically, these are presets
that are generated by a color correction
| | 01:29 | application such as Adobe Speed Grade.
| | 01:31 | In those applications, they're streamlined
just to focus on making adjustments
| | 01:36 | to the color correction of an image.
| | 01:39 | They're very popular and used quite
often in the film industry and as well
| | 01:44 | as television to do final color correction
for shows, so each show has an individual look.
| | 01:50 | Now, the way we're going to use this
in Photoshop is to choose one of these
| | 01:55 | options from the 3D LUT pull-down here.
| | 01:57 | Let's go ahead and click on the
pull-down and I just want to show you
| | 02:01 | how powerful these are.
| | 02:03 | If we choose Moonlight, for example, now
all of a sudden this looks like its dusk.
| | 02:08 | And if we scroll through, you can see
how powerful that is in affecting all
| | 02:12 | of the shots below.
| | 02:14 | It's a pretty strong adjustment.
| | 02:16 | Now, the style that I'm kind of going
for is a little bit more vintage style.
| | 02:20 | So if we click on this,
let's choose Soft Warming.
| | 02:24 | Now, even though this is still kind of
bright, I have that slight off-color look.
| | 02:30 | And if we actually move our playhead back up
here to the black area, it's no longer black.
| | 02:35 | It has kind of a funky hue to it.
| | 02:37 | And I sort of like that style, so that's
what we're going to go ahead and apply.
| | 02:41 | Now, another thing we can do in
making these Adjustment layers is group this
| | 02:47 | adjustments to the overarching video groups.
| | 02:51 | So, for example, with my Color Lookup
layer selected, I could go up under Layer,
| | 02:56 | and choose Create Clipping Mask.
| | 02:59 | When I choose that, notice the Color Lookup
is no longer applied to my Base Video layer.
| | 03:05 | It's only applied to the layer directly
below which is my Animated Stills layer.
| | 03:12 | Now, I didn't want to do that so let's
go back up under Layer and just choose
| | 03:16 | Release Clipping Mask.
| | 03:18 | Another way to apply this would
just be change the layer hierarchy.
| | 03:22 | So if I move the Color Lookup inbetween
the Base layer and the Stills Animated
| | 03:26 | layer, now, since my Stills Animated
layer is above my adjustment, that will
| | 03:31 | be clean but my adjustment will still
be applied to the Base Video layer.
| | 03:36 | So between Clipping Masks and layer
hierarchy, there's a number of ways you
| | 03:41 | can apply Adjustment layers to a large
groups or over an entire sequence.
| | Collapse this transcript |
| Applying styles in practice| 00:00 | In this video, we're going to take
everything that we've learned so far in
| | 00:03 | this chapter and combine it together to
create one cohesive stylized look for our piece.
| | 00:09 | Now before we do that,
let's check out our project.
| | 00:11 | I'm just going to scrub with my
playhead so we can get a general idea
| | 00:15 | as to what's happening.
| | 00:16 | As you can see we have our Fade, with
our kind of gloomy look and then some
| | 00:21 | edited stills that have been adjusted.
| | 00:24 | And then we have our out with the jet. Okay.
| | 00:29 | Now, this is enough for me
to kind of figure out,
| | 00:33 | Okay. Stylistically, what do I want to do?
| | 00:35 | Well, I want to add kind
of a funky vignette to this.
| | 00:39 | Since it has this sort of gloomy look,
I want to stylize it and warm it up a
| | 00:44 | little bit with some colors and I want
this to be a background element, so I
| | 00:50 | want to make it a little more subtle.
| | 00:52 | And a very popular way of making
things more subtle is by adding a vignette.
| | 00:56 | Now, a lot of people just add
vignettes by adding black into the corners,
| | 01:00 | and we're not going to do that.
| | 01:02 | We're going to use some Adjustment layers.
| | 01:04 | So first thing, I want to add
edges that are slightly darker.
| | 01:08 | So let's go now to our Adjustment
layers making sure that we have our
| | 01:12 | top-most layer selected.
| | 01:14 | Now, click on the New Adjustment layer
and let's add a levels adjustment.
| | 01:19 | Now in here, I want things
to get a little bit more dark.
| | 01:22 | So if I just drag my output brightness
down a little bit, that sort of works.
| | 01:28 | And just to kind of crush the black
levels a little bit more, I'm going to click
| | 01:32 | on my black input and bring that
down just a little more. Okay.
| | 01:37 | Now, let's go ahead and close our
Properties Adjustment for right now.
| | 01:41 | This is all well and good but as you
can see, as I toggle the visibility on
| | 01:45 | and off, this is darkening the entire image.
| | 01:47 | Since I only want to darken the edges,
we need to create a mask here for
| | 01:51 | our levels adjustment.
| | 01:53 | So I'm going to turn on the visibility
and name our levels adjustment Dark_Edge.
| | 02:00 | Now, a quick way of just painting this in
is by pressing Cmd and clicking in this mask.
| | 02:07 | When we do that, we're loading up a selection.
| | 02:10 | And then here, I can go up under
the Select pull-down menu and go to
| | 02:13 | Transform Selection.
| | 02:15 | Now, let's click on the corner and hold
down Shift+Alt on Windows, Opt on a Mac.
| | 02:21 | So I'm holding Shift+Opt just
to scale this down a little bit.
| | 02:25 | I'll scale it back up a little bit. Okay.
| | 02:27 | Now it's good and press Enter.
| | 02:29 | Now, this is kind of give us a squared-off
vignette which I think is relatively okay.
| | 02:36 | Now, since I don't want this to be a
hard edge, what we'll do is go back up
| | 02:40 | under the Selection pull-down and
go to Modify and choose Feather.
| | 02:46 | Now, let's Feather this about 50 pixels,
I'm going to click Ok, now we're going
| | 02:51 | to get kind of a rounded edge here.
| | 02:53 | Now currently, what's selected is the
center of this and I would like to select
| | 02:57 | everything that's outside.
| | 02:59 | So I'll go back up under the Selection
pull-down and choose Inverse or
| | 03:04 | press Shift+Cmd+I on my keyboard.
| | 03:07 | Now that we have the outside edges
selected, we can press D to make sure
| | 03:12 | we have our default colors.
| | 03:14 | And I'm going to press Cmd on the Mac,
it would be Ctrl on Windows and the
| | 03:19 | Delete key, and this will
fill from the background color.
| | 03:22 | So Cmd+Delete fills from the background
color, which is this black area.
| | 03:28 | And I'll press Cmd + D to deselect.
| | 03:31 | Now, if I look at this, oops,
I did the exact inverse.
| | 03:35 | So a quick easy way of making an
adjustment here is Cmd+I, and sure enough.
| | 03:41 | Now, if I toggle the visibility off and on
again, I have a dark edge all the way around.
| | 03:47 | Now, this is just the start.
| | 03:49 | I want to desaturate this as well.
| | 03:52 | So in order to do this, let's go add
another adjustment layer by clicking on
| | 03:56 | New Adjustment Layers, and then here,
we'll go to Black and White.
| | 04:00 | Now, with the default settings of Black
and White, this looks relatively okay.
| | 04:05 | But if there was a dominant color,
let's say green, for example, like in this
| | 04:10 | one shot here, I could make
adjustments to each individual channel that would
| | 04:15 | change how the Black and White worked
within that one specific area, or I could
| | 04:20 | click on one of the Presets and choose a
different setting if I wanted to have a
| | 04:24 | slightly different Black and White effect.
| | 04:27 | Now, since I don't want this to affect
the entire image, I'm going to press
| | 04:32 | Cmd and click right in the
thumbnail of the Dark_Edge mask.
| | 04:35 | So when you click on that, it's
automatically going to load that up and then
| | 04:40 | in order to apply this to the Black and
White adjustment layer, I'm going to
| | 04:44 | delete the old adjustment mask by clicking and
dragging it to the trash and say Delete,
| | 04:49 | and since I still have a selection loaded,
now I can just click this Quick Mask
| | 04:53 | button in the bottom of my Layers panel.
| | 04:56 | This is going to add the mask.
| | 04:58 | So now, you can see I've got my
desaturation happening on the edges.
| | 05:03 | So we've created a vignette
and a desaturated look.
| | 05:07 | Now, this adjustment here is a little strong.
| | 05:10 | So what I want to do is blur
out this mask a little more.
| | 05:15 | So with the mask selected, and I know
that because the white corners, I can go
| | 05:19 | up under Filter, choose Blur, and
choose Gaussian Blur, and just crank
| | 05:24 | that value up here a little bit to
really kind of soften that edge.
| | 05:29 | Now, when I click OK, you can see
the mask is really, really soft.
| | 05:33 | And if I want to back this adjustment off
a little more, I could lower its opacity.
| | 05:38 | So if I bring the Opacity down here,
notice its bringing color back into the image.
| | 05:44 | So let's bring this to around 41%. Okay, great.
| | 05:49 | Now we have a nice soft edge.
| | 05:52 | We have our levels adjustment
and we have a desaturated image.
| | 05:57 | Now, there's one last thing that I'd
like to do to really kind of push this
| | 06:02 | over the top and that's add a blur to my outer edge.
| | 06:05 | Now, the easiest way to add a blur
to everything is to actually blur out
| | 06:10 | our background layer.
| | 06:11 | Now, since I have two layers that make
up my animation, my Base Video and my
| | 06:17 | Animated Stills, what I'm going to do is
select both of those layers by clicking
| | 06:22 | on one and Shift clicking on the other,
and then go up to the flyout menu in
| | 06:26 | the Layers panel and
choose Convert to Smart Object.
| | 06:31 | When we choose that, both of these
layers are going to be put into a
| | 06:35 | separate Smart Object.
| | 06:37 | Now, I can go ahead and blur this layer.
| | 06:40 | But I don't want the entire thing to be blurry.
| | 06:43 | I just want the edges to be blurry.
| | 06:45 | So just because I'm paranoid and just
because I don't want to have to do this
| | 06:50 | more than once, I'm going to click and drag
my new Stills Animated layer down to
| | 06:55 | the New Layer button and
that will create a copy.
| | 06:58 | Now let's turn off the original Stills
Animated layer and with the copy selected
| | 07:03 | go up under Filter, choose
Blur, and choose Gaussian Blur.
| | 07:07 | Now you could choose any
kind of blur you prefer.
| | 07:10 | I like the Gaussian Blur, so
I'm just going to choose that.
| | 07:13 | Here, we'll set it up to a value around four.
| | 07:16 | When I click OK, now we can see I have
our blurred layer and if I turn on my
| | 07:22 | background layer, you can
see I have my non-blurry layer.
| | 07:25 | So I can make an adjustment to how
these layers mix with each other by
| | 07:29 | adding another layer mask.
| | 07:31 | Now, I could mask the Blur Filter
itself with one of these masks, but since I
| | 07:37 | want to make a further adjustment, I'm actually
going to add a mask to the layer itself.
| | 07:41 | So I'll use this really soft edge mask first.
| | 07:45 | So I'm going to press Cmd on the Mac,
Ctrl on Windows and then click on the
| | 07:49 | mask thumbnail for Black and White and
then with Stills Animated copy selected,
| | 07:54 | we'll add a Quick Mask.
| | 07:56 | Now we've added a nice soft
blur around the outside edge.
| | 08:00 | And of course, we could blend this
in by adjusting the Opacity or
| | 08:05 | if we wanted to get really creative, we
could use an Adjustment layer such as Soft
| | 08:09 | Light or Hard Light to make yet another
adjustment to how the blur actually
| | 08:14 | applies to the layer.
| | 08:16 | Now, I'm going to leave this back up at Normal.
| | 08:19 | And as you can see, we have a lot of
flexibility with how to mix these together.
| | 08:24 | But I hope you can see, when you
combine multiple techniques that we've learned
| | 08:27 | throughout this chapter, you can get
a really cohesive interesting stylized
| | 08:32 | look with a little bit of pre-planning,
some Smart Objects and definitely,
| | 08:37 | Adjustment layers and Masks.
| | Collapse this transcript |
| Fixing lens distortion in video clips| 00:00 | So truth be told, the first time I
actually really started exploring, opening,
| | 00:04 | and manipulating video in Photoshop,
had to do with the first time I realized
| | 00:08 | that you can correct for
lens distortion in Photoshop.
| | 00:12 | So rather than just correcting one still
image, we could correct whole pieces of footage.
| | 00:18 | So let's get started by making our corrections.
| | 00:21 | If we scrub through the Timeline here,
you can see I just have a shot, it was
| | 00:26 | taken at the beach here in California,
and it's definitely a video footage.
| | 00:31 | Now, one of the things you should do
before trying to adjust for lens correction
| | 00:35 | is convert your video
footage into a Smart Object.
| | 00:38 | This way, when the correction happens it
will happen over the entire length of the clip.
| | 00:43 | So right click or Ctrl+click if
you're on the Mac, on Layer 1 and choose
| | 00:48 | Convert to Smart Object.
| | 00:50 | When we choose that, now we can go up under
Filter and go down to Lens Correction.
| | 00:55 | With Lens Correction open,
let's look at Auto Correction first.
| | 01:00 | Here on the right side, if we move down
to the second box here, Search Criteria,
| | 01:05 | let's click on the pull-down
next to Camera Make.
| | 01:08 | And I shot this with an iPhone, so I'm
going to say Apple, and sure enough,
| | 01:12 | I have a list of Lens Profiles.
| | 01:15 | So I can choose iPhone 4, Back camera.
| | 01:18 | And sure enough, it's already made
a correction to my lens distortion.
| | 01:24 | Now, there are some
settings we should check out.
| | 01:26 | This first one is Auto Scale Image.
| | 01:29 | If we deselect this, notice around the
edges here, you can see how the image
| | 01:34 | has been distorted.
| | 01:35 | If we turn that back on, you can see we
had to zoom into the image a little bit
| | 01:39 | in order to deal with the edge correction.
| | 01:42 | Now, let's turn off Auto Scale
Image and turn off Geometric Distortion.
| | 01:46 | And here, you can kind
of see a before and after.
| | 01:50 | It's very subtle, but if you're using
an extraordinarily wide-angled lens,
| | 01:54 | this could be a lot more dramatic.
| | 01:57 | Now, having these Presets
is one of my favorite things.
| | 02:00 | You cannot only choose the make of
the manufacturer, but let's say we shot
| | 02:06 | something with a Canon, we could choose the
specific camera model, say, the 5D Mark II.
| | 02:11 | And then, if we click on Lenses, we
could choose any of the lenses that are
| | 02:16 | loaded into Photoshop.
| | 02:18 | Now, it's really important to keep up-to-date
with your Adobe Software because
| | 02:22 | when new cameras come out, they'll
get loaded into these profiles.
| | 02:26 | Now, I'll just get back out of the
Camera Make and go back to our
| | 02:31 | Apple Settings for the iPhone.
| | 02:33 | I do want to auto scale this image, so let's
select that and let's look at the Edge Options.
| | 02:40 | Right now, it's set to Transparency,
but if we changed it to, let's say, White
| | 02:45 | Color and we turn off auto scale, you
could see white wherever the edges were.
| | 02:51 | Or if we go to Edge Extension,
Photoshop will actually brush in extra pixels
| | 02:58 | around the edges based on the content.
| | 03:01 | So everything looks relatively okay
down here but as you can see, on this side
| | 03:05 | here, it looks a little severe.
| | 03:08 | So let's just go ahead and change our
edge back to Transparency and Auto Scale
| | 03:12 | Image and we're good to go.
| | 03:15 | Now there's one last thing to know about
Lens Correction, there is another tab
| | 03:19 | outside of Auto Correction and that
has to do with the Custom Settings.
| | 03:23 | So in here, if we click on the flyout
menu, notice we do have an option to
| | 03:27 | save these settings.
| | 03:29 | So if by chance you didn't find your
specific camera or lens in the Auto
| | 03:33 | Correction Settings, you could come
over here under these settings and
| | 03:37 | remove distortion just by changing
the different settings here.
| | 03:41 | And once you actually choose something
that you like in terms of how the image
| | 03:45 | is adjusted, you could
then save this as a preset.
| | 03:49 | Now, since I've dragged a bunch of these
sliders, this has gotten pretty badly distorted.
| | 03:53 | So what I want to do is change my
settings back to the default correction
| | 03:58 | which will reset this individual panel.
| | 04:00 | Let's go back to Auto Correction.
| | 04:02 | And before we click OK, I just want to
point out one other thing,
| | 04:06 | and that's Chromatic Aberration.
| | 04:08 | We're not seeing that in this image,
but sometimes you'll notice it with
| | 04:12 | macro lenses, specifically.
| | 04:14 | You'll notice it with less expensive lenses.
| | 04:17 | And around the edge of an image, you
may get one color or another and that
| | 04:22 | just has to do with how the light
waves are split through the lens.
| | 04:26 | So if you're seeing that in your image,
this is yet another thing that you
| | 04:29 | can fix on your shot.
| | 04:31 | And of course, we could also have
it fix a vignette if there were dark
| | 04:37 | edges around the corner.
| | 04:38 | Now, we don't have that problem with iPhones
so we'll just deselect that and click OK.
| | 04:44 | So now, since we've converted this for
the Smart Objects, we can, of course,
| | 04:48 | toggle off the adjustment and on so
we can see exactly how these trees
| | 04:54 | have been straightened out.
| | 04:55 | And if we ever need to make any more
changes, all we have to do is double-click
| | 05:00 | back on the Lens Correction to make
changes back in our editing window here.
| | Collapse this transcript |
|
|
4. Animating Graphic ElementsPre-rendering for an efficient workflow| 00:00 | In my typical workflow before I start
introducing graphic elements and
| | 00:04 | other pieces into my edited video here, I end
up using a technique called pre-rendering.
| | 00:10 | I find this tends to make things a
little bit more efficient when
| | 00:14 | I'm working with graphics.
| | 00:16 | Now pre-rendering is just the process
of taking everything that we've done
| | 00:20 | so far and creating one self-contained,
flattened, if you will, QuickTime file.
| | 00:26 | Basically, what that means is I'll
export this and then we'll no longer
| | 00:31 | be able to go into the Smart Object for these
animated stills and edit each individual still.
| | 00:37 | This will in turn just
make one precise QuickTime.
| | 00:41 | The advantage of doing this is the fact
that Photoshop doesn't necessarily have
| | 00:45 | to process all of those individual
elements as individual pieces anymore.
| | 00:50 | Now just because I am integrating some
graphics into the scene, I am going to
| | 00:55 | turn off these Adjustment layers and
I'll leave these set up so when I bring
| | 01:02 | my video back in, I can use these as a method of
blending my graphics into the background videos.
| | 01:09 | So, make sure to disable our top three
Adjustment layers here and go up under
| | 01:15 | the File menu and choose Export.
| | 01:17 | In here, we want to choose Render Video.
| | 01:20 | When the menu pops up, look up at the
top to determine exactly where you're
| | 01:25 | going to save the file.
| | 01:27 | I'll select the folder by clicking the
Select Folder button and I'll just choose
| | 01:32 | in my Exercise Files folder under
Assets let's create a new folder.
| | 01:37 | I'm going to click the New Folder button
in the lower left corner here and
| | 01:41 | name this folder Prerendered_Videos.
| | 01:49 | And now we can choose that and
let's look at the next set of options.
| | 01:54 | Here we can choose to export this
via Adobe Media Encoder or create
| | 01:59 | a Photoshop Image Sequence.
| | 02:01 | Let's leave it set up for Media Encoder.
| | 02:03 | And under Format, I want to
draw your attention to something.
| | 02:07 | There is DPX, H.264 and QuickTime.
| | 02:11 | Now you can load other presets into
this little output window and
| | 02:17 | you would do that by creating a
preset in Adobe Media Encoder.
| | 02:21 | Now since this isn't a course on Media
Encoder, I'm just going to use one of
| | 02:25 | the presets that's already in here.
| | 02:27 | So, let me go to the Format
menu and we'll choose H.264.
| | 02:32 | The reason I want to draw your attention
to these two other options, H.264 is not
| | 02:36 | a traditional option for motion graphics.
| | 02:40 | This is a great option if you're trying
to export something for an approval or
| | 02:44 | to upload to the Web.
| | 02:46 | For graphics, most of the time you'll
either want to use a DPX sequence which
| | 02:51 | will give you beautiful color range
and high quality output but it also
| | 02:56 | gives you a sequence of frames, or choose
something like QuickTime or if you're on
| | 03:02 | Windows, Windows Media.
| | 03:04 | In here, you can choose one of
the other codec's or presets.
| | 03:08 | Obviously, we could use Uncompressed
or Animation High Quality to maintain
| | 03:14 | the highest quality for my graphics.
| | 03:16 | Now I'm going to choose H.264 because I
want these files to be small for anybody
| | 03:21 | who is in turn in the future downloading
these files for their project files.
| | 03:25 | So, I'll just choose H.264.
| | 03:28 | Now since I am going to use this as a
source, I'll leave it setup for the
| | 03:32 | High Quality settings and we can
leave it setup for its Document Size.
| | 03:37 | And you want to make sure to
choose the Document Frame Rate.
| | 03:40 | This way you'll know when you're exporting
the video that it's going to line up
| | 03:45 | with exactly what you had been seeing
all the way up until this point.
| | 03:49 | Since this is a progressive video,
I don't need to do any interlacing or
| | 03:54 | introduced field so we'll leave that
setup and we can leave the Aspect ratio
| | 03:59 | at the Document settings and we'll
have the Range set to All Frames.
| | 04:04 | Now I'm going to click Render to create
this H.264 and we'll import this back in
| | 04:09 | after we fast forward
through the export process. Okay.
| | 04:13 | Now that that process is over, let's go
ahead and import our rendered QuickTime file.
| | 04:18 | If we go up under File, we can
choose Place and just navigate in your
| | 04:23 | Exercise Files folder, to your Assets
folder, under Prerendered_Videos
| | 04:28 | and then select Prerender.mp4.
| | 04:30 | When we click Place, this will
automatically place this file right in
| | 04:35 | the center of my screen.
| | 04:36 | Now since I don't need to resize it,
I can go ahead and press Enter
| | 04:40 | on my keypad to set this.
| | 04:41 | Now in order to be able to see this, let's
move it above the other two smart objects.
| | 04:47 | Okay.
| | 04:47 | Now we can delete the previous two layers.
| | 04:50 | So, I'm just going to click on one and
shift click on the next and drag those
| | 04:54 | both down to the Trash icon in the Layers panel.
| | 04:57 | Perfect, but not quite.
| | 04:59 | See, if we scroll down in the Timeline
here, notice we still have our audio
| | 05:04 | track out and also the file got placed
exactly where the play head was set up.
| | 05:11 | Now obviously, I want this file to start
right at the beginning of the Timeline.
| | 05:15 | So, I'm just going to make sure I'm at
zero frames and drag my clip to start at
| | 05:20 | the beginning of the Timeline.
| | 05:21 | Now since we output this clip with
audio, we need to mute the audio for
| | 05:27 | our pre-render because we
still have the music in here.
| | 05:30 | Now later on we'll address
adding some natural sound back in.
| | 05:34 | But for right now, let's just
mute our pre-rendered audio.
| | 05:37 | Usually if you click in the upper right
corner, you can see the audio options
| | 05:43 | up here but since this is actually a
Smart Object, we need to right click
| | 05:48 | on the Pre-render layer in the Layers
panel and choose Edit Contents.
| | 05:52 | When we choose that, go ahead
and click OK on the dialog box.
| | 05:56 | Now I can actually access my QuickTime
file that saved within my Smart Object.
| | 06:02 | In here in the Timeline, go to the arrow
in the box on the right and click on it
| | 06:08 | and, sure enough, here's our
audio section with the notes.
| | 06:11 | Click on that and just
check the Mute Audio option.
| | 06:15 | Now we can go ahead and go to File
and choose Save and save this so
| | 06:20 | when we close this out it'll
update into my Smart Object.
| | 06:25 | Now if we scrub through our project,
you can see we have our pre-rendered
| | 06:29 | QuickTime file and we have our Adjustment
layers and we're all set to use this
| | 06:35 | as the video we'll use in the background
for the rest of this chapter as
| | 06:39 | we start to integrate graphic
elements into our project.
| | Collapse this transcript |
| Animating text elements| 00:00 | Adding text is one of my personal favorite
things to do when creating animation.
| | 00:04 | It's obviously a clear way to communicate
exactly what's going on in the scene.
| | 00:09 | So, if we take our Playhead here and
scrub through the scene, you can see
| | 00:13 | we have some clearly defined scenes in our project.
| | 00:18 | So, we're going to add some text
here in this opening area.
| | 00:21 | We'll add some text over our images and
then we'll add some text here at the end
| | 00:28 | which will eventually make up
the logo for the title reveal.
| | 00:33 | Now to get started, let's go to the
beginning section here where the
| | 00:38 | rearview mirror is dominant in the scene.
| | 00:41 | To add text, we'll press T on
our keyboard to grab the Text tool.
| | 00:45 | Now it may take a second to initialize
but once it initializes we'll be able to
| | 00:50 | click in the canvas.
| | 00:51 | Now once you see your icon like this, we can
click anywhere in the canvas to start typing.
| | 00:57 | So, I'm going to click in the
lower left corner of the rearview.
| | 01:00 | Now let's type the word REMEMBER using all caps.
| | 01:05 | Now obviously this looks a little
small so to resize, if you hold down the
| | 01:09 | Cmd key on the Mac, Crtl key on
Windows and click and drag on one of the
| | 01:14 | control handles, you can
change the size of the type.
| | 01:17 | Now obviously, if you want to keep it in
proportion, you want to hold down Shift
| | 01:21 | as you're dragging as well, that way
you can get a clear representation
| | 01:25 | of the actual text itself the
way the font was designed.
| | 01:28 | So, to set this, we'll go up here to
the upper right section of the top part
| | 01:33 | of our interface and commit the
current edits by clicking this check box.
| | 01:37 | Now in order to reposition this on the
page, I'm going to press the V key to
| | 01:41 | grab my Move tool and reposition.
| | 01:43 | Now when you're setting text within
video elements, if there's any chance that
| | 01:48 | you're ever going to watch this on the
television, you need to pay attention to
| | 01:51 | two things, title safe and action safe.
| | 01:54 | Now typically in a Photoshop document,
if you come up under the File menu and
| | 01:58 | go to New, you can create a new document
and if you're using the Film and Video
| | 02:03 | presets, there are going to be some
guides and letting you know what
| | 02:07 | title safe and action safe is.
| | 02:08 | So, to show you, I'll just
click OK with this HDV preset.
| | 02:12 | When I click OK, see these guides?
| | 02:15 | The inner guides are title safe
and the outer guides are action safe.
| | 02:21 | title safe is where you
need to keep text inside.
| | 02:24 | action safe is where you want to
keep any key graphic elements inside.
| | 02:28 | Now if we go to our 402 document
and go up under View and go to Show,
| | 02:34 | there is no option for Guides because this
wasn't created with one of the standard presets.
| | 02:40 | Don't worry.
| | 02:41 | There is an easy way to get guides.
| | 02:43 | If you go to the Actions panel which
is this play button up here, we go and
| | 02:48 | click on that and click on the upper
right corner for the flyout menu,
| | 02:52 | we can load new actions.
| | 02:54 | And if you actually go down to the
bottom you can choose specifically
| | 02:58 | what actions you'd like to load.
| | 03:00 | So, go down and choose Video Actions.
| | 03:02 | When we choose that, that's
going to add a new set of actions.
| | 03:07 | And if you click on the flyout menu
one more time and choose Button mode,
| | 03:11 | if you scroll to the bottom of your actions,
there is a red one named Title Safe Overlay.
| | 03:17 | Go ahead and click on that and you'll
notice it's telling you this needs to be
| | 03:21 | run on a document that set
up for video. That's okay.
| | 03:24 | We can click Continue because
this is video size and here we go.
| | 03:29 | It's clearly defined title and action
safe and it's in own individual layer.
| | 03:34 | So now when I click on the Remember layer,
I can reposition it, making sure that
| | 03:39 | it stays inside of title safe.
| | 03:41 | Now I want this to be a little bit more
legible and notice with the black text,
| | 03:45 | it's kind of hard to see.
| | 03:47 | So, I'll go and change the color of this text
by clicking on the Character panel right here.
| | 03:54 | Now, since I have the Remember layer already
selected, I don't need to reselect the text.
| | 03:58 | I can just click in the color well
and change the text to a white color.
| | 04:03 | When I click OK, we'll go
ahead and set that text at white.
| | 04:07 | Now one last thing as a general
rule when you're adding text,
| | 04:11 | you don't typically want to add 100% white
text because it's extraordinarily bright.
| | 04:17 | So, a lot of times when I add white text,
I'll click and drag until I get to the
| | 04:22 | upper left corner and then making sure
to stay on the left side, I'll drag down
| | 04:26 | until my brightness value hits 90.
| | 04:29 | Now when I click OK, I've got
some safer text, if you will.
| | 04:34 | Now we can turn off our title safe and
leave our remember text here in the scene.
| | 04:39 | If we scroll in the Timeline, up or
down, you can see, check it out,
| | 04:44 | the text has been created and it's
set up for its default duration which
| | 04:48 | is about five seconds.
| | 04:50 | So, I want this text to kind of appear
here and then disappear by the time
| | 04:55 | the next section comes up.
| | 04:58 | So, I'll go ahead and move my Playhead
to just before that next section
| | 05:03 | and then just click on the right hand side
and drag back to the left to trim the duration.
| | 05:09 | Now if I want to just add a quick fade
to this type, I can go to my transitions
| | 05:14 | right here and click on it and choose Fade.
| | 05:18 | So, I'll add a fade at the beginning
and I'll add a fade right here at the end.
| | 05:23 | Now these fades are kind of long so I'm
going to shorten them just by clicking
| | 05:27 | right on the edge of one of the
fades and moving it back to the left.
| | 05:31 | Notice, as I click and drag,
I can change the duration.
| | 05:34 | So, here I'll change each to about
a duration of 12 frames. Perfect.
| | 05:40 | Now when we press the space bar,
we can preview our text and see
| | 05:45 | how it appears on the screen.
| | 05:46 | So, now that we have that transition
set, let's see how we can move the
| | 05:55 | text around the page.
| | 05:57 | In order to do that, you want to click on
this arrow to the left of the word REMEMBER.
| | 06:02 | When we click on that and scroll
down here notice I have some
| | 06:06 | Transform options for my text.
| | 06:08 | Here I'm going to click in this dark
gray area here to make the Timeline
| | 06:12 | a little bit larger.
| | 06:14 | Now as I scroll with my play head
here, you can see here is my text.
| | 06:18 | What I want to do is just have this text
moved from the left side to the right side.
| | 06:23 | So, just so I can remember that I stay
in title safe, I'm going to turn on that
| | 06:27 | overlay and I'll move my Playhead here
towards the beginning and click on
| | 06:33 | the Transform stopwatch.
| | 06:35 | This created a keyframe which records
exactly where this text is at this
| | 06:40 | specific frame which is one second in 12 frames.
| | 06:43 | Now I'll move my Playhead towards the
end of the clip and drag to the right.
| | 06:49 | Now obviously since I didn't have the
text further to the left, I can't really
| | 06:53 | move it too much further.
| | 06:55 | So, to navigate between keyframes,
you can use these arrows here.
| | 06:59 | I'll click on this left arrow and I'm
going to actually drag my text to the left.
| | 07:04 | And notice as I'm dragging it, I get
a contextual menu that pops up in the
| | 07:08 | center of the screen just
to the right of my cursor.
| | 07:11 | It's telling me exactly how many
pixels I've moved this on the x-axis.
| | 07:16 | Now if I scrub through you can see my
text is actually moving throughout
| | 07:20 | the scene and it will fade
just before my next movement.
| | 07:25 | Alright, so as you can see in the
Timeline with text, we can animate
| | 07:29 | the transformations, we can animate the
Opacity using keyframes or we can
| | 07:35 | animate it using Fades like we did.
| | 07:37 | We can also animate Style
and the Text Warp itself.
| | 07:42 | And we'll be doing this as we continue
moving through the rest of this chapter
| | 07:45 | but for now we've covered the basics
of adding text and animating text.
| | Collapse this transcript |
| Stylizing vector graphics for animation| 00:00 | Now once you start adding text into
your projects, undoubtedly you'll want
| | 00:04 | to follow that up by adding
some graphics underneath.
| | 00:07 | Now we created some text in the last video
that kind of just moved from one side
| | 00:12 | of the screen to the other and it's fine
but this text is huge and I'd still
| | 00:18 | like to separate it from
the background a little bit.
| | 00:20 | So, rather than trying to do something
else with the text directly, I'm going
| | 00:24 | to introduce a vector graphic element
underneath of it to kind of add some pop.
| | 00:30 | One of the things that I have active
right now is this title safe overlay layer.
| | 00:34 | And I don't need to worry about that
right now because I'm just adding
| | 00:38 | some graphics and no more text.
| | 00:40 | So, let's turn that off and
I want to add a vector element.
| | 00:46 | Now before I do that, I want to move my
Playhead to the start of my text layer.
| | 00:51 | So, I'm going to scroll down here until
I get to my text layer and make sure
| | 00:55 | it's selected and then I'll press the
Up arrow just to move my Playhead up
| | 01:00 | to the beginning of that layer.
| | 01:01 | Now since I'm at the beginning and I have
this Fade, I can't see where my text is.
| | 01:06 | So, I'll just move my Playhead a little
further in the scene, understanding that
| | 01:11 | I may need to go back and tweak exactly
when my graphic is going to start.
| | 01:16 | Now I'd like to have a color bar kind of
shoot across the screen underneath the text.
| | 01:22 | So, to do so, I'm going to go down here
to my vector shape tool in my Tool panel.
| | 01:27 | It's in the lower left corner.
| | 01:29 | If yours doesn't look like this, you
want to go to the third button from
| | 01:33 | the bottom and click and hold and make sure
that you have the rectangle tool selected.
| | 01:37 | You can also use the U key and each
time you press the U key, it will toggle
| | 01:42 | through each one of the different options.
| | 01:44 | So, we'll get started by
adding just a straight rectangle.
| | 01:48 | I'd like this to move from one side
of the screen to the other so I'll just
| | 01:52 | click and drag and make this roughly
the size that I want it to be in my scene.
| | 01:58 | Notice as I drag this out, I'm getting
exact pixel measurements as to how large
| | 02:02 | my graphic will end up being.
| | 02:03 | When I let go, notice the
rectangle is now on top of my text.
| | 02:08 | That's just because the text layer
was selected and anytime you add
| | 02:12 | a new element, it puts it above
whatever layer is currently selected.
| | 02:16 | So, let's move our REMEMBER text layer up here.
| | 02:19 | Now as I'm adding this, I'm realizing
these other layers aren't active so I need
| | 02:25 | to activate my adjustment layers just
so I can see exactly how this graphic is
| | 02:29 | going to be integrated into the scene.
| | 02:32 | Now I think this red color
is a little bit severe.
| | 02:35 | So, what I'll do is select the rectangle
and up here in my tool options in the
| | 02:41 | upper left corner, I can change the color.
| | 02:43 | Now this is one way of changing
color of a vector shape.
| | 02:47 | But there's another way I want you to consider.
| | 02:50 | And the reason I want you to do that, if
we open up the options for Rectangle 1,
| | 02:56 | notice we can change the position, opacity,
style, the mask position and whether
| | 03:01 | or not the mask is even enabled.
| | 03:03 | Well, what we want to do is be
able to actually animate the color.
| | 03:08 | So, in order to do that, I want to actually
change the color using the layer style.
| | 03:12 | So, with the Rectangle 1 layer selected,
let's look at the bottom of the Layers panel
| | 03:17 | and click on this FX button here.
| | 03:19 | Now if we choose Color Overlay,
we're going to overlay a new color
| | 03:25 | over our vector graphic.
| | 03:26 | Now it just happens to be the same color red
which is not at all what I'd like to use.
| | 03:31 | So, I'm going to click in my red drop well
here and make this color kind of dark
| | 03:37 | yellow orangey sort of color. Cool.
| | 03:40 | When I click OK, I can click OK one
more time and now I have a color overlay.
| | 03:46 | Now, if I want this color to blend
withthe elements in the background,
| | 03:52 | a lot of times I would use a Blend mode.
| | 03:53 | But what's going to happen if I change
my Blend mode here, it's not really going
| | 03:57 | to do anything because my vector layer
is changing its Blend mode but I still
| | 04:03 | have this color overlay which is
being applied on top of the Blend mode.
| | 04:07 | So what I need to do is
change that back to Normal.
| | 04:10 | And I'm going to create a new group
just by clicking on this Folder icon
| | 04:14 | in the bottom of my Layers panel.
| | 04:16 | Now I'll move my rectangle into that group.
| | 04:20 | Now if I collapse the group, with Group 1
selected, here I can change the Blend mode
| | 04:25 | for anything that's contained within that group.
| | 04:29 | So, here if I change to Soft Light,
now I'm getting kind of a cool color wash
| | 04:33 | that moves throughout the scene.
| | 04:35 | That may not necessarily be as dark as
I'd like it so let me choose Hard Light
| | 04:40 | and then back off the Opacity just
by changing the opacity up here
| | 04:44 | in the upper right hand corner.
| | 04:46 | This is giving kind of an interesting look.
| | 04:48 | If I zoom in here just a little bit
on the canvas by using
| | 04:52 | Cmd+ on the Mac, Ctrl+ on the PC,
you can see the colors are interacting
| | 04:56 | with the background elements and
I'm getting kind of red and yellow and orange.
| | 05:02 | If we scrub throughout the scene here,
you can see, okay, well that's cool, but
| | 05:07 | there is defined length to my vector graphic.
| | 05:11 | So, now since I have this Group 1 option,
if I open that up, notice I can
| | 05:16 | animate the opacity of the entire group of
elements if I had more than one thing in here.
| | 05:21 | I could animate the opacity and
I still have an option of animating
| | 05:26 | the individual parameters of this rectangle.
| | 05:29 | So, to keep things simple, what I'm
going to do is trim the length of this
| | 05:33 | graphic so it appears exactly when
I want it to appear which is right
| | 05:37 | underneath the text.
| | 05:38 | So, I'm going to click and drag to the
left and since my text is fading up,
| | 05:43 | I want my line to start moving as well.
| | 05:47 | So, in order to animate this, let's
select the Rectangle 1 in the timeline and
| | 05:52 | open up its options by clicking the triangle.
| | 05:54 | Now in order to animate the position of this,
I want to animate the vector mask position.
| | 06:01 | So, let's add a keyframe by
clicking the stopwatch here.
| | 06:05 | Now I know the key frame isn't right at
the start of the layer but that's okay.
| | 06:09 | We'll deal with that a little later.
| | 06:11 | Let's move further down the timeline to
when the text starts to fade off. Okay.
| | 06:15 | Well, here is where I want another keyframe.
| | 06:19 | Now if we click this little diamond
button here, that'll add a second keyframe
| | 06:23 | with the same value of a previous keyframe.
| | 06:27 | So, let's move back to our first keyframe
here and actually reposition this off the screen.
| | 06:33 | Now in order to move the mask, I'm
going to click my pass selection tool here
| | 06:38 | which is the black arrow.
| | 06:39 | With that tool selected, I can click
on the edge of my shape and drag it
| | 06:44 | back over to the left.
| | 06:46 | Notice as I'm dragging, I'm getting an
exact measurement as to how far I'm moving this.
| | 06:52 | Now, just because I don't want it to
move on the y-axis, I'm going to hold down
| | 06:57 | Shift after I start dragging.
| | 06:59 | This way it's only going to snap on the x-axis.
| | 07:02 | Now if I scrub my Playhead, you can
see I've got my graphic moving all the way
| | 07:07 | across the page as my text comes in.
| | 07:11 | So, this is looking pretty cool.
| | 07:12 | I just want to add a fadeout towards the end.
| | 07:16 | So, here let's trim the endpoint of
our vector graphic by clicking on the
| | 07:19 | right side and then we could add a fadeout just
by going to my transition here and choose Fade.
| | 07:25 | If we drag it to the right side,
it will start to fade out.
| | 07:29 | I don't want it to be that long so
I'm just going to click and drag and
| | 07:32 | adjust my duration down.
| | 07:34 | So, now you can see we have our vector
graphic that comes in and fades out
| | 07:39 | just as the text fades out.
| | 07:41 | Now it's fading out a little
more quickly than I would like.
| | 07:44 | So, I'm just going to slide the whole
graphic to the left here and then now
| | 07:49 | we can move the keyframe back to the
beginning of my vector graphic element.
| | 07:55 | So now, we'll see the text start to
come in and then my graphic start to slide
| | 07:59 | through the scene and fade out
and we're into the next scene.
| | 08:03 | So to preview this, let's press Cmd+0
to fit our canvas in the scene and
| | 08:10 | deselect the Rectangle 1 layer by just
selecting Group 1 and let's press the
| | 08:16 | spacebar to load up our preview.
| | 08:17 | So, obviously you can see that I might
want to go back and tweak the general
| | 08:29 | speed of this but overall I think you
have a pretty firm grasp on how to add
| | 08:33 | vector graphics and animate
them inside a Photoshop.
| | Collapse this transcript |
| Layering graphics in practice| 00:00 | Now, when it comes to layering graphic elements
you want to make sure to remain flexible.
| | 00:04 | What I mean by that, obviously in any creative
process you're going to have to make changes.
| | 00:10 | And when you're building animations
it's sometimes a little bit frustrating
| | 00:13 | to have to go back and change something
that you've already started animating.
| | 00:17 | But in Photoshop that's no big deal
and I'll show you how to do that as we
| | 00:22 | continue the layer more graphics in this video.
| | 00:24 | So, to get started let's click on
our playhead and scroll through
| | 00:29 | our little animation here.
| | 00:30 | And notice I've added several layers of
type and if you scrub all the way to
| | 00:35 | the end we now have a logo.
| | 00:38 | This Travel 5 logo is going to be the
style guide to push the rest of the text
| | 00:43 | elements in our project.
| | 00:45 | Now, we can mimic the style in one of two ways.
| | 00:48 | We can choose the type face
or we can choose the color.
| | 00:52 | Well, let's start by looking at the type face.
| | 00:55 | If we click on the word TRAVEL here in our
Layers panel and open the Character panel
| | 01:00 | notice we do have this pink color here.
| | 01:03 | This is the pink color for this word TRAVEL
and notice I'm not clicking on the
| | 01:08 | lower Travel layer, I'm clicking
on the upper travel layer.
| | 01:12 | Now, I'm going to rename this layer
Travel Title and the reason I'm doing that
| | 01:18 | is just so we don't get confuse between the two.
| | 01:20 | All right, now with the pink color I
want to store this so we can actually
| | 01:26 | use this for other type elements.
| | 01:28 | So, to do this all you have to do is
click on the color option and when the
| | 01:32 | color picker pops up and the upper
right area there is an add to Swatches
| | 01:37 | button, go in and click that button
once and name the swatch Travel.
| | 01:42 | Obviously you can name it whatever you
like but when I click OK this is now
| | 01:47 | added to my swatches.
| | 01:49 | Now I know we can't see that, so let's
click Cancel and go up to the Window Menu
| | 01:53 | and choose swatches.
| | 01:55 | See here on the Swatches
panel now there's my pink.
| | 01:59 | Notice when you have your mouse
over you'll get this eyedropper.
| | 02:02 | Well that's cool because when I
click in the pink that eyedropper is
| | 02:07 | automatically going to load that
color into the foreground color.
| | 02:10 | That's exactly what we want to do for now.
| | 02:13 | So, we can go ahead and close our Swatches
panel and scrub forward in the Timeline here.
| | 02:19 | Now, as I am looking at this, obviously
our first word here isn't quite matching.
| | 02:25 | So, if we select our Travel title layer
and just open the Character panel you
| | 02:30 | can see we have Myriad Pro and
its also Bold Condensed Italic.
| | 02:36 | Well, I know if I choose anything that's
Myriad Pro it's probably going to match
| | 02:40 | stylistically with some
of the other type elements.
| | 02:43 | So, let's get started by selecting our
REMEMBER layer by scrolling down in our
| | 02:48 | Layers panel and clicking on the word REMEMBER.
| | 02:51 | Open the Character panel and click
on the Helvetica pull down and let's
| | 02:55 | scroll down to Myriad Pro.
| | 02:58 | This is looking a little better.
| | 02:59 | But let's change it from Regular to Bold.
| | 03:03 | Now, the type is extraordinarily large.
| | 03:05 | So let's actually see if we can
change this down to around 90 points.
| | 03:10 | Now, we can close the Character panel
and this is looking a little bit better.
| | 03:14 | If I scrub my playhead forward, you'll
notice that's matching the next layer of type.
| | 03:20 | But, if I scrub through the word
REMEMBER notice I'm getting this kind of
| | 03:24 | jump that's happening.
| | 03:25 | Well, let's select the word REMEMBER
in the Timeline and see if we can see
| | 03:30 | exactly what's going on.
| | 03:32 | If we expand the triangle right here to
the left of the word REMEMBER, you can
| | 03:37 | see I have two Transform keyframes.
| | 03:39 | Well, this word is just kind of
floating from the left to the right.
| | 03:43 | So, let's actually delete these keyframes
by clicking on the stop watch next
| | 03:47 | to the word Transform.
| | 03:49 | Now, if we click this button on the
upper right corner of the word REMEMBER,
| | 03:53 | we can add motion back to this word.
| | 03:56 | I just want to Pan so let's click on Pan.
| | 03:59 | Now since the angle is set to zero
when it's pointed off to the right here,
| | 04:02 | that's going to be the
direction the word is moving in.
| | 04:05 | So, if I scrub through the Timeline here
you can see it's now moving left to right
| | 04:10 | and this is exactly what we want.
| | 04:12 | Now, what we need to do is
address the color issue of this red bar.
| | 04:16 | If we scroll down notice we have
Group 1 and we have Rectangle 1.
| | 04:21 | Well, if we select Rectangle 1 notice
over here in the Layers panel the color
| | 04:26 | was applied using Color Overlay.
| | 04:29 | Double-click on the word Color Overlay
and click on the color drop well to open
| | 04:35 | up the color picker.
| | 04:36 | Now, if the color picker open, if I
hover my mouse over my canvas or over
| | 04:42 | my foreground color I'll get an Eyedropper.
| | 04:44 | That way when I click in the pink
area I've now change the color to pink.
| | 04:49 | When I click OK, click OK again
now you can see I have pink in this area.
| | 04:55 | Now, this is extraordinarily large.
| | 04:59 | So, I do want to actually change
the size of this pink element.
| | 05:04 | So, I'm going to open up the
rectangle here and see if I can
| | 05:08 | look at what's actually animated.
| | 05:10 | Now, with vector masks the information
that's recorded is literally the
| | 05:16 | outline of the masks.
| | 05:17 | So, if I want to change this, what I need
to do is position my playhead over one
| | 05:23 | of the two keyframes.
| | 05:25 | Now, to change this mask we can press
Cmd+T and that'll open up a bounding box
| | 05:31 | here on the left side.
| | 05:33 | Now, if we hover our mouse over the
bottom line here, I can click and drag up
| | 05:38 | and make this much more narrow,
which is exactly what I want to do.
| | 05:42 | When I press Enter on my keyboard
I've now reset that size.
| | 05:46 | Now if I scrub forward, notice that
size remains the same and the graphic
| | 05:53 | is just animating from left to
right, which is exactly what I want.
| | 05:57 | The only thing I need to do is move the
overarching position of this graphic.
| | 06:02 | So to do that, I'm going to click
right on the graphic and just move down.
| | 06:07 | Now, notice when I did that it
actually added another keyframe.
| | 06:13 | So, you guessed it, I'm just going to
Cmd+Z to undo that and if I can't go
| | 06:17 | back I'm going to up here to my
History and just make sure I go back to
| | 06:23 | my Transform Path option here.
| | 06:25 | Now, notice my playhead
moved back to the first keyframe.
| | 06:28 | So, now I can just click and drag down and
I've repositioned where this line is going to be.
| | 06:35 | Now, if we scrub through the
problem is its still moving upwards.
| | 06:39 | So, on the second keyframe I
need to move that down as well.
| | 06:43 | Okay, now I'm just kind of eye balling
this another way of making sure that it
| | 06:47 | doesn't move up and down is just delete
the second keyframe and then move your
| | 06:52 | mask to it's residing point.
| | 06:55 | But, this is now actually exactly
what I wanted to see happen.
| | 07:00 | Now, what it feels like needs to have
another element built into the scene.
| | 07:05 | And we'll actually do that in the next video
when we learn how to animate brush strokes.
| | 07:10 | So let's keep moving through our animation here.
| | 07:13 | And I want the word TRAVEL
to change from white to pink.
| | 07:17 | So, to do that I'm going to click on
the word TRAVEL here in my Layers panel.
| | 07:23 | Now, if I scroll up notice I'm not
clicking on the Travel title, I'm clicking
| | 07:27 | on this word TRAVEL. Okay, perfect.
| | 07:29 | Now, in order to animate the color
change let's actually scroll up in our
| | 07:34 | Timeline and expand the TRAVEL
options by clicking on the triangle to the
| | 07:39 | left of the word TRAVEL and here
notice I can animate my Transform, Opacity,
| | 07:44 | Style, or Text Warp.
| | 07:47 | Well, Style is exactly what we need to animate.
| | 07:49 | So, let's add a layer style to the word Travel.
| | 07:52 | But before I do that let's go ahead
and move our playhead to the beginning
| | 07:57 | of this text layer.
| | 07:58 | Now, if we go to this FX button in the
lower left corner of the Layers panel
| | 08:03 | we can choose Color Overlay.
| | 08:05 | And of course the default color is red,
but if we click in the drop well, we can
| | 08:09 | then move our mouse over the foreground
color and, you guessed it, choose our pink.
| | 08:14 | When I click OK and OK
I've now got TRAVEL setup to pink.
| | 08:20 | So if I scroll down in my Timeline and
add a keyframe to the Style here it's
| | 08:26 | recording pink as the value for
the start of this word and that's
| | 08:30 | not exactly what I want to do.
| | 08:32 | I want it to start white.
| | 08:33 | So, before I move my playhead again I'm
going to double-click on the word Color
| | 08:38 | Overlay and change the opacity down to zero.
| | 08:41 | Now, when I click OK my text is
going to go back to that white value.
| | 08:46 | If I click and drag my playhead over
to the end of that text layer, let's make
| | 08:51 | sure we write on the last frame there, perfect.
| | 08:53 | We can double-click Color Overlay and bring
the Opacity back up to 100%. When I click OK,
| | 09:01 | now we're all set.
| | 09:02 | If we scrub through you can see the
word is changing from white to pink.
| | 09:07 | Now, I want this to happen
a little more quickly.
| | 09:09 | All I have to do is click on the right keyframe
and drag it back to the left a little bit.
| | 09:14 | Now, if we scrub through you can see
it's going to change to pink a little more
| | 09:19 | quickly and give the word TRAVEL
a nice pop over this little area.
| | 09:23 | Now, if we scroll all the way to
the end you can see we have our final
| | 09:27 | resolution with our logo.
| | 09:30 | So, when it comes to layering multiple
graphics across your project I hope you
| | 09:34 | can see just how important having
one clear defined vision can be.
| | 09:38 | And since every project seems to
have revisions, if you take a methodical
| | 09:43 | approach working through your project,
section by section, like we just did,
| | 09:47 | you'll be finished in no time.
| | Collapse this transcript |
| Animating brushstrokes | 00:00 | When it comes to animating brush strokes
inside of Photoshop we're going to
| | 00:04 | use some rather old school techniques
very similar to cell animation.
| | 00:08 | Now, don't panic. We're not going to
literally have to paint each individual
| | 00:12 | frame of the animation, but
it is going to be rather close.
| | 00:16 | Now, to get started we need to
choose exactly where we'd like these
| | 00:19 | brush strokes to appear.
| | 00:20 | So, if you click and drag on the playhead
you can bring it back to this where
| | 00:25 | it says WHAT IT FEELS LIKE.
| | 00:27 | I'd like some brush strokes to
animate underneath the word FEELS.
| | 00:30 | Now, rather than drawing these strokes
directly inside of this document.
| | 00:34 | I found sometimes it's a little bit
easier to build everything in another
| | 00:38 | document and then copy it over to this one.
| | 00:41 | So, before I jump to this other
document, I want to make sure I have the
| | 00:45 | right layer selected so when we copy the layers
they'll end up copying above the proper layer.
| | 00:50 | So, let's scroll down in our Layers
panel and select the layer that says
| | 00:54 | REMEMBER, that way when we copy the
layers over they're underneath our text
| | 00:58 | that says WHAT IT FEELS LIKE.
| | 01:00 | Now, let' go up under the
File menu and choose New.
| | 01:04 | Go to the film and video preset
and choose the preset HDV HDTV.
| | 01:10 | I know the frame rates is 29.97,
that doesn't matter right now.
| | 01:14 | So, if we click OK, now we have our
new blank document and in here we have
| | 01:19 | a white background that's going to help us
see how the brush stroke is going to animate.
| | 01:24 | So, I'll leave that set up and just
make the Timeline a little bit smaller by
| | 01:28 | clicking in this dark area and dragging down.
| | 01:31 | And now let's press Cmd+0 on the Mac,
Ctrl+0 on the PC and resize our canvas
| | 01:36 | to fit in our view. Okay, perfect.
| | 01:40 | Now, to start painting brush strokes
we just need to create a new layer.
| | 01:44 | So, in the Layers panel click the New
Layer button in the lower right corner.
| | 01:47 | And now under Layer 1
let's just rename that layer 1.
| | 01:52 | Now, if you tap B on your
keyboard that will select your brush.
| | 01:55 | There is some quick key commands
I want to go over when you're
| | 01:59 | choosing different brushes.
| | 02:00 | The first one is how to choose the brush in and of itself.
| | 02:04 | If you right click anywhere in the
canvas you'll end up with the same menu that
| | 02:09 | pops up when you come to the
upper left section of the interface.
| | 02:13 | So, a lot of times you'll see me right click
and that's how I get this menu to pop up.
| | 02:18 | If you don't have a right click
on your Mac, its control click.
| | 02:21 | Now, my choice of brushes may look
different than yours, and in order to
| | 02:26 | make sure that they're all the same,
| | 02:28 | if you click this cog in the upper right,
you can just choose Reset Brushes and
| | 02:32 | that will reset all the brushes with
the default brushes if you click OK.
| | 02:37 | Now, as I click through some of these
brushes you can see I have a bunch of
| | 02:41 | different options and some
different icons that pop up here.
| | 02:44 | Now, these other brushes actually help
you recreate very realistic brush strokes.
| | 02:50 | But in order to get the best out of
them, you want to use a Wacom tablet.
| | 02:54 | Those tablets will actually adjust the
brush stroke based on the pressure,
| | 02:58 | and the angle of your pen that you'll
use to paint the strokes.
| | 03:02 | Now, since I'm just using a mouse
I'm going to use one of these standard
| | 03:06 | brushes right here.
| | 03:07 | If you click in the upper left, notice
we have the size of the brush at 50 and
| | 03:11 | the hardness at zero.
| | 03:12 | Now, in order to get rid of this window
just click anywhere outside of your
| | 03:16 | canvas, I'll just left click right here,
that way we won't accidentally paint
| | 03:20 | a brush stroke in here.
| | 03:22 | Now, there's a quicker way to adjusting
the Size of the brush and that's using
| | 03:26 | the key command Ctrl+Opt on the Mac,
its Shift+Alt on the PC.
| | 03:30 | If I hold those two keys and left click,
notice as I drag to the left I'll make
| | 03:35 | the Diameter smaller, and to
the right it makes it larger.
| | 03:38 | If I drag up, I can adjust the Hardness
up to 0% or if I drag it down it's going
| | 03:45 | to make the brush more hard up to 100%.
| | 03:47 | Now, I want to use a soft brush.
| | 03:49 | So, I'm going to drag back up until I get
to a Hardness of around 10%. Okay, perfect.
| | 03:57 | Now, if you want to adjust the Opacity of
your brush you can come up here and adjust that.
| | 04:01 | But, we'll paint at 100% for right now.
| | 04:04 | Now to choose the color of the brush,
I'm just going to click on the foreground
| | 04:08 | color down here on my Tool panel and
we'll start with this kind of pinkish color
| | 04:12 | to kind of match the style of our spot.
| | 04:14 | When, I click okay now we
can start our brush stroke.
| | 04:17 | I want this to be kind of large so I'm
going to start over here on the left.
| | 04:21 | And for my first one I'll
just tap once with my mouse.
| | 04:24 | It's going to make a very small point.
| | 04:26 | Now, if I duplicate that layer by clicking
and dragging down to my create layer button.
| | 04:32 | Now, I have a copy.
| | 04:33 | I can turn the visibility of layer 1
off and rename our copy layer 2 and now
| | 04:39 | let's add to that stroke just a little bit.
| | 04:42 | Now, how much you add to each stroke
will determine how smooth or choppy the
| | 04:47 | appearance of your brush stroke is.
| | 04:49 | So, let's duplicate layer 2.
| | 04:50 | Again, turn off the visibility of the
previous layer and rename and we'll just
| | 04:56 | add to the stroke here a little bit.
| | 04:59 | Now, I'm only going to do this a couple
more times just so you can kind of see.
| | 05:03 | But, I definitely encourage you to do
a little bit more yourself and keep
| | 05:08 | pushing this to see exactly how realistic you
can make the growth of your own brush stroke.
| | 05:15 | Now, with these five let's turn on the
visibility for all the layers and go to
| | 05:20 | the Timeline area and choose
Create Video Timeline.
| | 05:24 | And here, now we can make the Timeline a
little bit larger, and I'm going to press
| | 05:28 | the spacebar to kind of
center up my brush stroke here.
| | 05:31 | Now, the way this is going to work,
we'll trim all the layers.
| | 05:35 | So, let's start with layer 1 and
drag the right side over so the duration
| | 05:40 | is about three frames.
| | 05:42 | Now, we can do the same with layer 2,
we'll bring it down to about three frames.
| | 05:46 | But, let's move that over to the right.
| | 05:48 | We can do the same thing here, three frames
and click to move the whole thing over.
| | 05:54 | If you're having a hard time clicking
on the center to move it over, you can
| | 05:58 | increase the magnification of your Timeline.
| | 06:01 | Let's just make the durations a little shorter
and then we'll increase the magnification.
| | 06:05 | There we go.
| | 06:06 | So, we'll make this about three frames
and three frames is still going to be
| | 06:11 | rather choppy, you could make it two or one
but this will give us a good general idea.
| | 06:16 | Notice, as I'm resizing the duration
of each one of these strokes my playback
| | 06:21 | range is adjusting automatically.
| | 06:23 | Now, when I press the spacebar I'll get
what looks like in animated brush stroke.
| | 06:28 | It's drawing on to the page.
| | 06:30 | Now, in order to add a
little bit more character to this,
| | 06:34 | I'm going to take all of these strokes
by clicking on five and shift clicking on
| | 06:37 | one so they're all selected
and add them to a group.
| | 06:41 | When I drag down to the Folder icon we
can call Group 1, Brush 1, and
| | 06:48 | let's duplicate this by dragging our group
down to the Create Layer button and with
| | 06:54 | Brush 1 copy selected, let's just
rename that Brush 2 and press Cmd+T on
| | 07:00 | your keyboard to open up the Transform controls.
| | 07:03 | I'm going to drag this out to the right,
so it's a little larger and rotate it
| | 07:07 | around so the stroke will actually
appear in a different direction.
| | 07:11 | I'm also going to slightly reposition
the stroke and press Return on my keyboard.
| | 07:16 | Now, in order to stylize this a little
bit more with my group selected you can
| | 07:21 | actually apply a layer style
to all of the layers.
| | 07:25 | So, let's choose the Satin layer style.
| | 07:28 | Now, it's a little harsh right out of the box.
| | 07:30 | But, if you bring the Opacity down and
then adjust the Contour you can get some
| | 07:35 | pretty interesting, sort of dynamic results.
| | 07:38 | I like this contour here
that's looking kind of neat.
| | 07:42 | And I'll bring the Multiply
factor down just a tiny bit there.
| | 07:47 | And I know this look kind of blobby, but
if you use any of the other brushes you
| | 07:51 | can get some really interesting
looks out of your brush strokes.
| | 07:55 | Now, another way to blend these together
is by adjusting the Blend modes themselves.
| | 08:00 | So, with this overarching group,
I can choose a different Blend mode.
| | 08:04 | Say, Screen and this will blend
differently with the layers underneath.
| | 08:09 | Now, the Blend mode I like
to use most is Hard Light
| | 08:13 | because, it will give me a good coloring
but still allow the subsequent layers
| | 08:17 | below to show through.
| | 08:19 | Now, if I drag my cursor over you
can see I have two brush strokes going.
| | 08:23 | Now, obviously you can repeat all of these
features by adding and layering more duplicates,
| | 08:29 | but I think you get the basic idea.
| | 08:31 | Now it's time to duplicate
these into our composition.
| | 08:35 | Let's select Brush 2, shift click to
select Brush 1, and if you right click
| | 08:40 | on either one, you can duplicate the layers.
And make sure, under destination, click
| | 08:46 | on the pull down and choose
the document 04_05_Animate_Brush.
| | 08:50 | When I click OK and then jump over to
my animated brush document, if we scroll
| | 08:56 | down in my Timeline you'll see my
brush strokes have been copied they're just
| | 09:00 | all the way at the start of the timeline.
| | 09:03 | So, if I want these strokes to start
happening down here, I'll just click and drag.
| | 09:08 | Now, I want these to be
slightly offset in their animation.
| | 09:12 | So, I'll drag one to start painting later.
| | 09:15 | Now, their appearance is
not under the right word.
| | 09:18 | So, I can just press V to grab my
Move tool and with the Brush 2 group
| | 09:23 | selected I can just move
it under the word FEELS.
| | 09:26 | If I press Cmd+T, I could transform
those brush strokes and move them around.
| | 09:31 | But here, let's select Brush 1 and
I'll bring that down and here we go.
| | 09:36 | Now, you can see we have some animated
brush strokes that appear underneath the
| | 09:40 | words and add a little bit
more flavor to our animations.
| | 09:44 | So, like I said, when it comes to animating
brushes, it's just a bit of a process.
| | 09:49 | But once you've go through the steps
in a logical fashion you can
| | 09:52 | create something that's all your own.
| | Collapse this transcript |
|
|
5. Creating Masks and Final CompositesUsing clipping masks for video| 00:00 | It's not uncommon to want to be able to
put footage inside of a graphic element.
| | 00:05 | And one of the key ways we can
do that is by using a Layer Mask.
| | 00:09 | Now, if we scrub through the Timeline, you
can see I have kind of this blue animated
| | 00:15 | background and I have my TRAVEL 5 logo
and the number 5 is kind of getting
| | 00:22 | lost in the background here a little bit.
| | 00:24 | And if we turn on the visibility of
this top layer here, I have this window
| | 00:28 | footage which is just footage of a
trail being shot outside of a car,
| | 00:32 | so it's kind of blurry and fun.
| | 00:34 | I would like to mask this
footage inside of the number 5.
| | 00:38 | A very fast, easy way to do this is to
hold down the Command key and
| | 00:44 | click on the T for layer 5.
| | 00:46 | If I click on that, it's automatically
going to load any pixels that are painted
| | 00:51 | and since the pixels for the
number 5 are painted, obviously,
| | 00:57 | it's loaded that as a selection.
| | 00:59 | Now if I turned the visibility of the window
footage layer back on, I can add a Layer Mask.
| | 01:05 | If I come down here to the bottom of my
Layers panel, there is this little icon
| | 01:10 | that looks like a piece of
paper with a hole kind of it.
| | 01:12 | Go ahead and click that button.
| | 01:15 | That has applied my footage into
that specific area for the number 5.
| | 01:21 | Now, I can see slight edging around at
the edge number 5 here and so just to see
| | 01:27 | if that's actually there, I'm going to
increase the magnification of my canvas
| | 01:31 | to 100% by pressing, on the Mac Cmd+1,
or Ctrl+1 on the PC.
| | 01:37 | And as you can see it's barely there, if
I turn off the number 5 down here on my
| | 01:43 | Layers panel, then I won't get
that slight white halo around it.
| | 01:47 | Now, I kind of liked that look
so I'm going to turn that back on.
| | 01:51 | But what I would like to do is
just blur the edges of this mask.
| | 01:55 | Now, if I hold down the Option key, Alt
on Windows, and I click in this thumbnail
| | 02:00 | for the mask, it will show me the mask itself.
| | 02:04 | Now, I would like to blur the edges of
this a little bit and, shrink it down.
| | 02:09 | So first thing before I do that, I'm
going to unlink this mask. See this
| | 02:14 | little chain icon inbetween the two thumbnails?
| | 02:17 | That's letting me know that anytime I
grab the Move tool and start clicking
| | 02:21 | around it's going to move both the Fill,
which is the video layer, and the Mask.
| | 02:25 | Now I want to manipulate the Mask
by itself, so I'll unlink the layer.
| | 02:29 | And I know I have the mask selected
because I have the white corners around it.
| | 02:34 | First I'll shrink this down a little bit.
| | 02:37 | So if you go up under Filter and choose
Other, we can use Maximum or Minimum to
| | 02:43 | grow or erode the mask.
| | 02:45 | Let's choose Maximum.
| | 02:48 | With Maximum, if I increase the Radius
here, you can tell it's actually growing
| | 02:53 | the mask, that's not what I want to do.
| | 02:55 | Let me click Cancel.
| | 02:57 | Go up to Filter, choose Other
and let's choose Minimum.
| | 03:01 | With Minimum selected, here if I
click and move it off to the side,
| | 03:05 | I can shrink the Radius down.
| | 03:07 | Now, I only want to shrink this down
a little bit so let's shrink it down
| | 03:10 | to about three pixels.
| | 03:12 | Now, when I click OK, this is going
to be a smaller area than my number 5.
| | 03:18 | Now to blur this, I'm going to go up
under Filter and choose Blur>Gaussian Blur
| | 03:24 | and I just want a small blur for the edges.
| | 03:28 | So here let's do a blur, maybe 1.4 pixels.
| | 03:32 | When I click OK, now to see the mask
being applied, I'm just going to click
| | 03:38 | back on this thumbnail on the left side.
| | 03:40 | When I click on that, now you can see
this has been applied inside of my number 5.
| | 03:46 | Now, to further blend this, I could
bring the Opacity down just a little bit.
| | 03:50 | And if I wanted to stylize this like,
let's say I want to keep the motion but
| | 03:55 | I'd like the color to be different,
I can add a Layer Style.
| | 03:59 | So I'm going to come down to my
Layer Styles button and click on that
| | 04:03 | and choose Color Overlay.
| | 04:05 | With the Color Overlay, I'm going to
click in the color box and just choose
| | 04:10 | my pink by hovering my mouse over the pink
letters and when I click OK, you can
| | 04:15 | see the pink has been applied, but
I want the motion to go through.
| | 04:19 | So I'll change my Blend mode of the
Color Overlay to Color and I'll bring the
| | 04:23 | Opacity down just a little bit.
| | 04:26 | Now when I click OK and scrub through,
you can see I have the motion of the
| | 04:31 | video in the type layer and I have a
little bit more pop off the background
| | 04:36 | because, it's blending in there a little bit.
| | 04:39 | Now, I want to see the whole scene so,
I'm going to press Cmd+0 on my keyboard
| | 04:43 | to resize it to fit.
| | 04:45 | And as you can see, as I scrub through,
I've definitely added a little bit more
| | 04:49 | pop to the number 5.
| | 04:51 | Now, all I need to do is just add some
pop around TRAVEL and our other type to
| | 04:57 | actually make it separate from
the background a little more.
| | 05:00 | And we'll actually do that later
on in the chapter when we look
| | 05:03 | at Clipping Masks.
| | Collapse this transcript |
| Animating masks| 00:00 | Animating Masks inside of Photoshop is
one of the surefire ways to take your
| | 00:04 | animated graphics from one level to the next.
| | 00:08 | See, right now we know how to animate
objects around the screen by using keyframes.
| | 00:13 | We know how to animate their opacity.
| | 00:15 | But what if I want this line
to actually draw on to the page?
| | 00:18 | Well, that's when I'd want
to use an Animated Mask.
| | 00:22 | And that's exactly what
we're going to do on this video.
| | 00:25 | So to get started, let's actually look
at this outer line here and we'll
| | 00:29 | have it draw on from the top of
the page all the way to the bottom.
| | 00:32 | So if we select the outer line shape
layer here in the Layers panel,
| | 00:37 | you can see if I zoom out using Cmd-,
you can see it's a big circle.
| | 00:41 | But obviously since it's larger than the
canvas, I'm only seeing this one section.
| | 00:46 | In order to animate this mask, we
need to actually create the mask.
| | 00:51 | So let's make sure we have
the Rectangle tool selected.
| | 00:54 | If you don't see this in your third tool
from the bottom, go ahead and click and hold
| | 00:58 | so you get the flyout menu
and then choose Rectangle tool.
| | 01:02 | Now, let's draw a rectangle that will
cover the entire portion of this one line.
| | 01:08 | So I'm going to click and drag
starting in the upper right here and drag
| | 01:12 | all the way to the bottom.
| | 01:13 | When I let go, now I've created my shape.
| | 01:15 | Now if I zoom back in here using
Cmd+ and the spacebar, you can see, okay,
| | 01:21 | I have a stroke but no fill.
| | 01:23 | Well, yours may already have a fill.
| | 01:25 | It just depends on the last settings
you used when you created a vector shape.
| | 01:29 | So up here for my Shape options, I'm
actually going to click in the stroke
| | 01:33 | well here and disable my Stroke and
click on the Fill well and actually
| | 01:39 | choose a white color here.
| | 01:42 | Now we have a rectangle in the scene.
| | 01:45 | If we scroll down in our Layers panel,
notice it's above the outer line.
| | 01:49 | We need this to be below the outer line if we
want the outer line to use this as the mask.
| | 01:56 | So reposition layer 1 below the outer
line and before we actually have this be
| | 02:01 | the mask, let's go ahead
and create an animation.
| | 02:04 | So, let's scroll down in the Timeline here
just to make sure that we are at our rectangle.
| | 02:10 | Perfect.
| | 02:11 | Now, I want the rectangle to start
drawing this line on at around one second.
| | 02:17 | So just click on the Rectangle layer and
drag it until it starts at around one second.
| | 02:23 | Now if we open the Rectangle options by
clicking the triangle to the left of the
| | 02:27 | rectangle, here we can animate the position.
| | 02:30 | Now, just so I can see things better, I'm
going to make the Timeline a little bit larger.
| | 02:34 | Now since this is a vector object, we want to
add a keyframe for the vector mask position.
| | 02:40 | Now the way masks work, whatever pixel
is painted will reveal the subsequent
| | 02:45 | shape that's using that mask.
| | 02:47 | So I want this animation happen over one second.
| | 02:50 | So let's move our playhead down to
two seconds and add a keyframe for our
| | 02:55 | vector mask position.
| | 02:56 | This will be its final position
so it will reveal the line.
| | 03:02 | Now, move the playhead back to the beginning
at one second and I'm going to zoom out,
| | 03:06 | using Cmd- and I'll grab my Move tool
by tapping V on my keyboard
| | 03:11 | and let's just move the
rectangle up in the canvas.
| | 03:15 | As you start dragging, hold down Shift
and that will make sure that it doesn't
| | 03:20 | move on the x-axis and only moves on the y.
| | 03:23 | Make sure it's all the way up the canvas
and now, as we drag our playhead,
| | 03:28 | you can see we've created keyframes for our mask.
| | 03:32 | This is perfect, but I want
this to actually reveal the line.
| | 03:35 | So now is when we can actually enable the mask.
| | 03:39 | If you select the Outer_Line layer in
your Layers panel and go up under Layer,
| | 03:44 | you can choose Create Clipping Mask.
| | 03:47 | When we do that now the outer line is
looking at the rectangle to actually
| | 03:51 | create the transparency.
| | 03:53 | If I scrub through though, notice I
still have the rectangle moving through
| | 03:59 | the scene which I definitely don't want.
| | 04:01 | Now, just so I can see the line,
I want to make sure to select Layer 5,
| | 04:06 | or any other layer that
doesn't have a mask on it.
| | 04:08 | Now, if I zoom in, Cmd+ and use
my spacebar to move over, notice the
| | 04:14 | rectangle is revealing the line.
| | 04:16 | So what we really need to do is
actually have the rectangle turn off.
| | 04:21 | Now this is where things
are going to get interesting.
| | 04:24 | I'm going to go through a couple of settings
to troubleshoot this and then show you
| | 04:27 | the final solution just so you can
kind of see exactly how this is working.
| | 04:31 | Select the Rectangle 1 layer.
| | 04:34 | With this layer selected, go ahead
and bring the Fill Opacity down.
| | 04:39 | When you bring the fill down,
notice the line disappears.
| | 04:43 | Well, that's not what we want to do.
| | 04:45 | So, let's turn that back on.
| | 04:46 | Let's bring the Opacity down and sure
enough, that's not what we want to do.
| | 04:51 | So I'm going to turn that back on.
| | 04:54 | This is where I'm actually
going to use my knowledge of
| | 04:58 | how Photoshop processes information.
| | 05:00 | What we need to do is actually put
this rectangle inside of a group.
| | 05:04 | So create a new group by clicking the
Folder icon here and let's move Group 2
| | 05:10 | down underneath the outer line.
| | 05:12 | This is going to break the clipping
mask but don't worry, we'll add it back
| | 05:16 | in here in a second.
| | 05:17 | Now, let's move Rectangle 1 back into Group 2.
| | 05:22 | Now, if I collapse Group 2, you can
see okay, the rectangle is in there.
| | 05:27 | So open Group 2, select Rectangle 1
and change the Blend mode from Normal
| | 05:33 | to anything in here.
| | 05:35 | I'm going to choose Multiply.
| | 05:36 | And the way this works, Multiply is
taking any white pixels and it's going to
| | 05:42 | make them 100% transparent
to any of the pixels below.
| | 05:47 | So if this were gray, it would
be 50% transparent, etcetera.
| | 05:51 | So, now if we add our clipping mask,
we can go to the Outer_Line layer,
| | 05:57 | go up under Layer and choose Create
Clipping Mask. Now check it out.
| | 06:01 | When we do this, you can also hide the
mask by pressing Cmd+H or Ctrl+H.
| | 06:07 | When I do that, I want to choose Hide Extras.
| | 06:12 | Now I have the layer selected
and I've just hidden the mask.
| | 06:15 | Now notice as I scroll through,
the line is being revealed.
| | 06:20 | This is pretty cool.
| | 06:21 | What's happening, Photoshop is processing
the rectangle by itself with Multiply
| | 06:27 | over the background.
| | 06:29 | And then the outer line is using the
transparency data of the group, but since
| | 06:34 | the group is set to pass through, it's
ignoring the Blend mode and still looking
| | 06:40 | at Rectangle 1 as painted pixels.
| | 06:43 | So we're just kind of breaking it
a little bit, so it actually functions
| | 06:48 | the way that we're expecting.
| | 06:50 | Now I know you might be thinking
yourself well okay, this is cool.
| | 06:54 | But what if I want a soft edge to this line?
| | 06:56 | Well, we can do that too.
| | 06:59 | This requires yet another
little layer of trickery.
| | 07:03 | So if we select Rectangle 1, I can
go up under Filter and choose Blur
| | 07:08 | and choose Gaussian Blur.
| | 07:10 | When I do that it's going to
ask me to rasterize the shape.
| | 07:13 | I don't necessarily want to do
that because this is a vector shape.
| | 07:17 | So I'm going to cancel that and I'm
going to go up to Layer and just choose
| | 07:22 | Smart Object>Convert to Smart Object.
| | 07:25 | With the rectangle converted to the
Smart Object, understand that those
| | 07:28 | keyframes did move into the Smart Objects.
| | 07:32 | So if I want to adjust the timing for
how this is moving in the scene,
| | 07:36 | if I scroll to my Rectangle 1 here in Group 2,
notice I don't have those keyframes anymore.
| | 07:43 | So that's just something to be aware of.
| | 07:45 | But since I like this animation,
this is working perfectly well.
| | 07:49 | Now, if I go up under Filter and choose
Gaussian Blur, the blur is giving me an
| | 07:55 | edge to my mask but it's also
introducing some gray pixels.
| | 08:00 | Now, I'm going to go ahead and click
OK and that added the blur as a
| | 08:05 | Smart Filter because this is a Smart Object.
| | 08:08 | In order to make sure that any of the
gray pixels are white, I'm actually
| | 08:13 | going to use a Layer Style.
| | 08:14 | So if we click on Add Layer Style and
choose Color Overlay, we can change the
| | 08:20 | color from red to white and when
I click OK, that kind of works.
| | 08:26 | But what we also need to do is then
in turn change this Blend mode to Dark
| | 08:31 | and/or Multiply or any of the other Blend modes.
| | 08:35 | That way it's actually blending back into
the layer and now we have a Soft-Edge Mask.
| | 08:41 | So if you want, you can kind of keep
this and duplicate it into future projects
| | 08:46 | if you don't want to have to go through
this process again to figure out how to
| | 08:50 | add a Soft-Edge Mask.
| | 08:52 | The only thing that I would recommend
is maybe adding the keyframes for the motion
| | 08:56 | after you've already
made it to Smart Object.
| | 08:59 | So just a preview of what we're doing here,
I'm going to press Cmd+0 to resize
| | 09:03 | my image and I'll scrub back through
and as you can see, animating masks
| | 09:09 | inside of Photoshop is kind of a fun,
neat way of actually controlling how each
| | 09:15 | of these elements appear within the screen.
| | Collapse this transcript |
| Preparing audio for export| 00:00 | I never thought I would hear myself say this,
| | 00:02 | but, yes, we can edit audio inside of Photoshop.
| | 00:06 | Honestly, it is something you
should pay attention to, especially if
| | 00:09 | you're editing your clips.
| | 00:11 | Now, there aren't any big
filters or anything like that,
| | 00:14 | so if you do need to edit your audio
you probably want to use another
| | 00:19 | external application to do so.
| | 00:21 | But if you have audio on your clips,
you want to pay attention to what actually
| | 00:26 | is playing back and what isn't.
| | 00:28 | Now, I know earlier we've been going
through and toggling the audio on and off
| | 00:33 | for RAM previews and things like that
when we cache all of our video frames.
| | 00:38 | But obviously, sometime you'll have to
pay attention to exactly what clips you
| | 00:44 | want active and what clips you don't.
| | 00:46 | So let's look at our project
the way it currently exists.
| | 00:49 | If we scroll down to the
bottom of our Timeline here.
| | 00:53 | You can see we have an AudioTrack_OUT
and this contains our music file.
| | 00:58 | Now if we go over the right side of
the Timeline and press the spacebar,
| | 01:01 | we can preview what possibly
could be in this 04_01 clip.
| | 01:06 | So, let's click on it.
| | 01:09 | And as you can tell, there is
nothing there. No big deal.
| | 01:13 | That's because this track has been muted.
| | 01:15 | Now if you want to double-check
whether a clip has been muted or not,
| | 01:20 | usually you could go to the upper right hand
corner and click on this button
| | 01:24 | and if there's audio on the track,
you'll see it listed up here.
| | 01:27 | Now, since this is a pre-rendered Quicktime,
it's contained within a Smart Object.
| | 01:31 | I know that because if we scroll down
here into the bottom, you can see
| | 01:36 | there is our Smart Object or a Smart Layer icon.
| | 01:38 | So to edit this, we can double-click
on the layer and it says
| | 01:43 | after editing contents you want to
make sure to click Save. That's fine.
| | 01:46 | We can click OK and now we're inside
of our Smart Object and, yes, we have our
| | 01:52 | background video layer and if we click
this button on the upper right corner,
| | 01:56 | sure enough, if we click on the
Audio section it's been muted.
| | 02:00 | Now the controls for audio are pretty
nice because if you unmute the audio
| | 02:05 | you can control the Fade In and the Fade Out.
| | 02:09 | This is in terms of seconds.
| | 02:11 | So if I click and drag past the number 1,
it's going to be one second and 17 frames.
| | 02:17 | Now, this Fade In and Fade Out is directly
tied to the length of this individual clip.
| | 02:23 | So had we not pre-rendered this and we
had a bunch of individual clips,
| | 02:27 | for each individual clip, we could
add a Fade In or Fade Out.
| | 02:30 | Now for our final project,
I don't want to do that.
| | 02:33 | So I'll just go ahead and turn the Mute
audio back on and go up to the top here
| | 02:38 | and close my .psb file.
| | 02:41 | If I close that it's going
to ask me if I want to Save.
| | 02:45 | Let's click Don't Save and I do want
to add our jet kind of streaming by
| | 02:50 | back into the project.
| | 02:52 | So to do that, let's go up under
the File menu and choose Place.
| | 02:57 | I know that this audio exist in my
Exercise Files folder, in my Assets folder,
| | 03:03 | in my Video Sources.
| | 03:05 | And here I have my Jet_Over movie.
| | 03:07 | So we can go ahead and bring that
back in just by choosing Place.
| | 03:11 | When this comes in I'm going to press
Enter on my keyboard to set it in my project.
| | 03:17 | Now since I want the audio from this and
not the video, what I'll do is take the
| | 03:21 | Opacity down to zero.
| | 03:25 | Now we need to scroll into the Timeline
down here at the bottom and make sure
| | 03:30 | that our clip lines up in terms of
where we want the audio to come in.
| | 03:35 | So here if drag it towards the beginning,
this is not exactly what I want.
| | 03:39 | I want the jet to fly over and I do
kind of want to line up the video
| | 03:45 | to match what we currently have in our project.
| | 03:47 | So let's turn the Opacity back up
here a little bit in the Layers panel.
| | 03:51 | With the Opacity a little higher,
look at that, I got relatively close.
| | 03:54 | Move this back here. There we go.
| | 03:58 | Now, I don't want the video,
so I'll bring the Opacity back down,
| | 04:04 | but I do need to trim the left side of this.
| | 04:06 | Now, since I slid it off the side of the
page I'm just going to pay attention
| | 04:11 | to where the right side is,
which is the end of my comp.
| | 04:14 | So here I'll slide this back over and
trim the start point just by dragging
| | 04:18 | on the left side and I'll line up
the right side of our clips here.
| | 04:23 | And just to be precise, we could select
the background pre-render layer and
| | 04:28 | push the Down arrow and then that way
when we drag, it will snap right to where
| | 04:33 | we're looking on our project.
| | 04:35 | Now since that was not successful, let's
change the magnification and just drag this back.
| | 04:40 | Okay, there we go.
| | 04:41 | I'm going to bring that back down here
and as we're looking, okay,
| | 04:47 | I want the jet to start streaming in a little
bit before the edit so we can kind of hear it.
| | 04:52 | So I'm going to move my playhead
further back and drag my left side here
| | 04:57 | and let's click in the upper right hand
corner and notice we don't have options
| | 05:02 | for the audio and that's because,
again, this isn't Smart Object.
| | 05:06 | So if we double-click on the Smart
Object thumbnail in the Layers panel,
| | 05:10 | we can click OK and then here within our Smart
Object, this is where I want to add the Fade.
| | 05:15 | The problem is, I have this beginning
part to my clip so I need to actually
| | 05:22 | visually match where I am between projects.
| | 05:26 | Now since I can't see where I am
currently in this project, let's bring
| | 05:30 | the Opacity up one last time.
| | 05:33 | Okay, so I'm roughly on this frame.
| | 05:35 | So here I'm going to rough this out. Hey, look.
| | 05:38 | It's relatively close. I'm going to
bring that back, okay, I just...
| | 05:42 | maybe back there, we can
click back and forth. Okay.
| | 05:46 | That looks pretty good for me.
| | 05:48 | So I'll trim the start point of my
layer and click in the upper right corner
| | 05:53 | and then my audio settings I'll add a
quick Fade In around 25 frames
| | 05:59 | and we don't need a Fade Out.
| | 06:01 | Now, if we click File and choose Save,
we get back into our final project.
| | 06:08 | Look at what happened to the length
of our clip. It's disappeared.
| | 06:13 | That's because when we resized the
length of the clip in the pre-existing
| | 06:18 | Smart Object, it made it very,
very tiny here in the timeline.
| | 06:22 | That had to do with the edits that we created
before we jumped into the Smart Object.
| | 06:27 | So if this ever happens to you, don't panic.
| | 06:30 | Let me just zoom in rather closely to
the timeline and here, see I can't drag
| | 06:35 | out on the right because I
know that's the end frame.
| | 06:38 | So I'm going to drag back in on the
left and bring some of this clip back.
| | 06:42 | Maybe we can bring it back all the way
to the beginning of when that clip starts.
| | 06:47 | Okay, this is looking good.
| | 06:49 | Now I can bring this back and again,
we're going to have to go to the end and
| | 06:54 | just zoom really quickly here just to
make sure that this lines up. Okay.
| | 06:59 | Now make sure to bring your Opacity
right back down to zero and let's preview
| | 07:04 | this by zooming back out and just
positioning our playhead about halfway
| | 07:08 | through our project and I'll press
the spacebar to load this into RAM.
| | 07:13 | I'm going to turn off the audio first
just so I know everything will load smoothly.
| | 07:18 | Once this is loaded, we can toggle
the audio back on and check things out.
| | 07:23 | So let's turn the audio back on, move our
playhead back and here we go. So there we go.
| | 07:35 | Now I want to explain there's always
more than one way to do things in Photoshop.
| | 07:40 | We just placed our video in Photoshop
so we could actually edit the audio back
| | 07:45 | in and I like placing video in Photoshop
because it automatically resizes
| | 07:50 | the video and automatically puts it in
the Smart Object so if I were to
| | 07:54 | apply any filters or effects, they would
automatically be applied over the entire clip.
| | 07:58 | But sometimes you may want to open the
video in a separate Photoshop document
| | 08:02 | and then just use the Duplicate Layer command.
| | 08:05 | That way, the video is directly
accessible with the audio in our Timeline
| | 08:10 | without having to go into a Smart Object.
| | 08:12 | But, as with most things with Photoshop,
there's more than one way to do it.
| | Collapse this transcript |
|
|
6. Finishing, Exporting, and ArchivingBuilding a final animation | 00:00 | Finishing a project will usually
require you to merge elements from different
| | 00:03 | documents together into one to
create your final finished piece.
| | 00:07 | Now, if we look at our project here,
I'm in 06_01_Finish_A and we're actually
| | 00:14 | going to marry elements from Finish_B
into this for our final project.
| | 00:19 | Now, click on the playhead and scrub it in
the Timeline towards the end of our project.
| | 00:24 | And here you will see our end
title card is a little lacking.
| | 00:29 | It's kind of cool but it's sort of
hard to read the 5 and the pink, it doesn't
| | 00:33 | really pop off the background.
| | 00:34 | So this is what we're going to end up replacing.
| | 00:37 | Now in order to replace this,
let's focus on two things.
| | 00:41 | A, having the proper layer selected.
| | 00:44 | And B, moving our playhead to where
we'd like our replacements to start.
| | 00:49 | So, let's select the layer numbered
5 here in the Layers panel and scroll
| | 00:54 | down to that layer in the Timeline
and if we move our playhead to the
| | 00:58 | beginning of that layer, we can see a
10:14 is probably where we want to start
| | 01:04 | our new title card.
| | 01:05 | Now, let's go ahead and scroll down to
the bottom of the project and just select
| | 01:10 | the 04_01_Pre-render Smart Object layer.
| | 01:14 | I want to do this because I want
our layers to get copied in just above
| | 01:18 | the background layer.
| | 01:20 | That way, we'll easily see which
other layers we may need to delete
| | 01:24 | when we finish our project.
| | 01:26 | So let's open up our other project.
| | 01:29 | Go up to the File menu and choose Open.
| | 01:32 | If you're not already in the Chapter 6
folder, navigate in your Exercise Files
| | 01:36 | to the Chapter 6 folder and open 06_01_B.
| | 01:39 | When we click Open, that project
will open and here you can see the
| | 01:45 | background is a little bit darker and
we have some animated footage that's
| | 01:49 | inside the number 5.
| | 01:51 | I'm just dragging with my playhead
to sort of scrub through.
| | 01:55 | Now, I want to copy all of
this to our new end frame.
| | 01:59 | Now it looks as though I want to copy
absolutely everything from this project
| | 02:02 | into the other project.
| | 02:04 | But if we look the Layers panel, we can
scroll up to the top and notice that
| | 02:09 | I have three Adjustment layers.
| | 02:10 | Now since I built both projects, I know
that these three Adjustment layers are
| | 02:14 | exactly the same, but you want to be
careful when you do have Adjustment layers
| | 02:18 | between multiple projects because
obviously, these apply adjustments.
| | 02:22 | Now since we know that these are the
same as the adjustment layers in 06_01,
| | 02:27 | see if we go back over that project and
scroll up we have adjustment layers here,
| | 02:32 | we can go back to 06_01_B and make sure not
to select those three Adjustment layers.
| | 02:39 | So let's first select the Text Layer
for your next adventure and scroll
| | 02:43 | down to the bottom, hold down
Shift and click on Group 1.
| | 02:47 | Now all of the layers that make this up
except for our Adjustment layers will be copied.
| | 02:53 | On the Mac Ctrl+Click, on Windows you
can right click and choose Duplicate Layers.
| | 02:59 | Now make sure to change the destination
document from Finish_B to Finish_A.
| | 03:05 | When we choose that, we can click OK.
| | 03:07 | Now go back to the Finish A project.
| | 03:11 | With that open, notice if we scroll
down the Layers panel, the layers did copy
| | 03:16 | just above our background pre-render layer.
| | 03:19 | But if we scroll down in the Timeline,
notice those layers actually got put in
| | 03:25 | right at the start of the Timeline.
| | 03:27 | Now since we already positioned our
playhead to where we'd like this footage
| | 03:31 | to start, let's go ahead and just click
on any one of the layers and drag over
| | 03:35 | to the right and since all the layers have already
been selected, they'll all move as one unit.
| | 03:41 | When I let go here, now notice I
have this nice dark background.
| | 03:46 | But wait a minute, the Fill
for the number 5 is gone.
| | 03:49 | Well, this is when want to actually pay
attention to how your project is built,
| | 03:53 | because if we scroll up and see here,
you can see, oh yeah, we have these three
| | 03:58 | text layers that made up
our original title animation.
| | 04:01 | So let's click on the top one and hold
down Shift and click on the bottom one
| | 04:05 | there and here we have these three
layers selected and press Delete on your
| | 04:09 | keyboard and those will
get deleted automatically.
| | 04:12 | Now if we scrub in our Timeline, you can see
the plane flies off and that our title pops up.
| | 04:18 | The only thing we need to do is actually kind
of blend a transition from one to the other.
| | 04:24 | This is a little bit jarring.
| | 04:26 | So I'd like to animate these dark blue
areas to slide in from the left to the right.
| | 04:32 | Now, we'll animate one and I'll
leave it up to you to animate the other.
| | 04:36 | Now if we scroll down in our Timeline here,
there's one other thing I want you
| | 04:40 | to pay attention to.
| | 04:41 | That has to do with when this footage ends.
| | 04:45 | If I move over to the right by clicking
this button next to the magnification
| | 04:49 | slider, notice now the project
ends almost at 16 seconds.
| | 04:54 | We've added more time to our project.
| | 04:57 | Now obviously if we were under a time
constraint, we could change how long the
| | 05:01 | project is just by clicking
and dragging on the work area.
| | 05:05 | Now if I click on this and drag to the
left, I'll cut off all these extra stuff
| | 05:10 | but thankfully since we're not building
a graphic that's time-sensitive,
| | 05:13 | the fact that it's a little
longer is perfectly okay.
| | 05:16 | Now, let's build that animation
for the darker layers.
| | 05:20 | Scroll down here to the Outer_Circle.
| | 05:24 | With the Outer_Circle selected, let's
go ahead and add our first keyframe.
| | 05:29 | Since I do want this circle to be up at
this point, let's click and drag back to
| | 05:33 | the left and see exactly when
I'd like that animation to begin.
| | 05:39 | Well, I want it to begin right here at
the start and let's just move a couple of
| | 05:43 | frames down, let's say 11 seconds one frame.
| | 05:47 | With the Outer_Circle selected,
let's click on the arrow to open up its
| | 05:50 | options and since this is a vector object,
let's add a keyframe for the vector mask position.
| | 05:57 | Now if you don't already have it selected,
move your mouse over your canvas and
| | 06:01 | tap V to select your Move tool.
| | 06:03 | Now, I'm going to quickly move my playhead
to the beginning of this layer
| | 06:08 | and then inside the circle I'm going
to click and drag with my Move tool.
| | 06:12 | As I start to drag, I'm going to hold
Shift to make sure it stays on the x-axis.
| | 06:17 | If I scrub through here, you can see that,
that element is going to animate in.
| | 06:22 | So if I want to preview how this looks
I can go ahead and press the spacebar
| | 06:27 | and as you can see,
that's a little less jarring.
| | 06:30 | Yes, Travel 5 pops in, but these elements we
could go ahead and animate to smooth things out.
| | 06:37 | Now there is one other thing
I did want to show you.
| | 06:40 | If we continue to scrub through here,
we do have this other graphic element
| | 06:44 | that does animate in.
| | 06:46 | If we wanted to change the timing for
that element, all we'd have to do is
| | 06:50 | literally just click and drag when
the mask starts to reveal itself.
| | 06:54 | So let's go and click on this mask
element and drag it back to the left
| | 07:00 | and I want to extend it
by dragging it to the right.
| | 07:02 | Now, since it's in a group, notice when I
click and drag with a group, it won't extend.
| | 07:07 | So if we open up our group here,
this is when I could click and drag
| | 07:12 | my rectangle over to the right
and that will extend the group.
| | 07:16 | Now when we look at our animation
it's going to automatically go to
| | 07:21 | that quick flash frame and then we'll have our
blue color animate in and our other line draw on.
| | 07:29 | So as you can see, combining multiple
elements from different documents
| | 07:32 | really isn't that hard.
| | 07:34 | As long as you just take a methodical
approach, just like anything else
| | 07:37 | with motion graphics.
| | Collapse this transcript |
| Archiving files| 00:00 | Now if you work in a proper work flow,
which of course I'm sure everybody does,
| | 00:06 | you'll be in an environment where you
should be thinking about archiving
| | 00:10 | before you ever start your project.
| | 00:12 | Yes, that's exactly what I said.
| | 00:14 | Think about archiving before you ever
start, because anytime you're dealing with
| | 00:18 | motion graphics, inevitably the application
will be referencing multiple files.
| | 00:23 | So, for example, if we look at our
06_02_Archive Photoshop document,
| | 00:29 | let's navigate in our file browser.
| | 00:31 | Navigate in your Exercise Files folder
to the Chapter Six folder and if I select
| | 00:36 | my 06_02_Archive Photoshop document,
you'll notice that's 18 megabytes.
| | 00:42 | But if we actually jump back into Photoshop,
you'll see that I have background
| | 00:47 | videos that are in here.
| | 00:49 | Now they happened to be pre-rendered
videos, but this is a background video
| | 00:54 | in my Smart Object.
| | 00:56 | And if we scroll through here, you
can see there's definitely more
| | 01:00 | than 18 megabytes worth of information.
| | 01:03 | The reason Photoshop is working perfectly
well with this project is because
| | 01:07 | of how I've organized the assets
in our Exercise Files folder.
| | 01:11 | See, if we jump back into the file
browser here, notice I have one overarching
| | 01:16 | folder, and within that folder I have
an Assets folder that contains video
| | 01:21 | sources, stills, audio sources,
pre-rendered videos, et cetera.
| | 01:25 | So if I were to archive this project,
this Chapter Six project, instead of just
| | 01:30 | dragging this one Photoshop document,
I would take everything that's in the
| | 01:35 | Exercise Files folder and copy it to my archive.
| | 01:39 | The reason I would do that, I know
everything that I'm referencing is
| | 01:43 | contained in one of these folders
within the Exercise Files folder.
| | 01:47 | At the very least, I would copy the
Chapter Six folder and my Assets Folder.
| | 01:52 | But like I said, to play it safe,
you want to have one overarching folder
| | 01:56 | that contains everything.
| | 01:58 | Now, let's look at this
06_02_Archive_Project Folder.
| | 02:02 | This is an example projects
folder that I've set up for you.
| | 02:06 | And you can definitely populate
this with your own documents.
| | 02:09 | Typically, when I work within Photoshop,
especially if I'm doing motion graphics things,
| | 02:13 | I'll have at least two folders.
| | 02:17 | One, that will contain my Photoshop
documents and graphics; and two,
| | 02:21 | that will contain all my reference video.
| | 02:23 | This way, if I know I ever need to move
this project, I can copy this entire folder.
| | 02:29 | And as a matter of fact, one of the
things I recommend doing whenever you're
| | 02:32 | working in motion graphics, is to set
up a folder structure the way you like it,
| | 02:36 | and then keep a copy of that on your
hard drive and everytime you start
| | 02:41 | a new project, you can just duplicate this
folder and rename it whatever your new project is.
| | 02:47 | That way when you copy all your files
and things like that into here,
| | 02:51 | you don't have to worry about whether or
not Photoshop is using external referenced
| | 02:54 | files because you know all the
files for that project will be in this
| | 02:59 | overarching project folder.
| | 03:01 | So again, when it comes to archiving,
you want to make sure that you
| | 03:06 | think about archiving before
you ever start your project.
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| Exporting objects| 00:00 | So when you're finished with your project,
obviously you'll probably want to export
| | 00:03 | it so it is a some kind of
self-contained video file.
| | 00:07 | Now there are certain instances where
you would want to export, say an image
| | 00:11 | sequence, instead of a QuickTime or a
Windows Media file, and we'll talk about
| | 00:15 | those in a quick second.
| | 00:17 | So to export your project files out of
Photoshop, you want to go up under File
| | 00:22 | and choose Export>Render Video.
| | 00:25 | Under the Render Video settings, this is
where we can select the folder where
| | 00:29 | we can export our project to.
| | 00:32 | Now let's go to the next option down.
| | 00:34 | Right here where it says, Adobe Media Encoder,
if we click on that, notice we have
| | 00:38 | an option to use Media Encoder where
all of these settings are actually,
| | 00:43 | in fact, loaded from Adobe Media Encoder.
| | 00:45 | But there's also another option
for Photoshop Image Sequence.
| | 00:50 | Now if you have a large project
that is very render-intensive.
| | 00:54 | Let say you have Photoshop Extended
and you animated some 3D elements,
| | 00:59 | when you go to export that, sometimes it
will take Photoshop quite a bit of time
| | 01:03 | to export that file.
| | 01:05 | If you know that's going to be the case,
you might want to export an image sequence,
| | 01:09 | that way if you have to stop the render
halfway through, you still have
| | 01:14 | the individual files rendered to a folder.
| | 01:18 | And then you could, in turn, quit the
project, open and back up later and then
| | 01:23 | export the next set of frames.
| | 01:25 | Now, if we look at Adobe Media Encoder,
I have some options under the format.
| | 01:30 | The three main options on this computer
are DPX, H.264 and QuickTime.
| | 01:37 | Now, DPX is primarily used in the film
industry for exporting really high quality
| | 01:43 | graphics that will end up going to film.
| | 01:46 | Now, most of the time when I export,
I'll export to QuickTime. Obviously
| | 01:51 | in Windows Media, you probably
have Windows Media as an option.
| | 01:55 | Now, for the QuickTime options under pre-set,
if I click on the pull down, you
| | 01:59 | see we have Animation,
JPEG 2000 and Uncompressed.
| | 02:03 | The one I usually recommend for
motion graphics is Animation High Quality.
| | 02:07 | The Animation codec is bundled in
QuickTime Player so any computer that can
| | 02:12 | install QuickTime player can playback
an animation high quality video.
| | 02:17 | Now if it were a true HD Video at Animation?
| | 02:21 | Sometimes computers may start around
playback and that just has to do with how
| | 02:26 | fast the hard drive is on that computer.
| | 02:28 | Now, when we choose Animation High Quality,
there is one other thing you should
| | 02:32 | pay attention to and that's
down here under our Render options.
| | 02:36 | The Alpha Channel, if you click on this,
you can export animation QuickTime
| | 02:40 | files with an Alpha Channel.
| | 02:43 | An Alpha Channel will allow you to export
a file that doesn't have a background.
| | 02:47 | So for example, if I just animated
some text with no background, I could
| | 02:52 | export a QuickTime animation codec file
and choose a Premultiplied with Black
| | 02:58 | Alpha Channel and when I click render,
that file would be ready to import into
| | 03:03 | any other editing application out there,
whether it's Premiere or Final Cut
| | 03:07 | or AVID or what have you.
| | 03:09 | Now since I don't have an Alpha Channel on
this file, I'm just going to choose None.
| | 03:14 | The next thing we should
pay attention to is the Range.
| | 03:16 | Do you want All Frames or
specific frames or just the Work Area?
| | 03:22 | Now All Frames just happens to be the work
area on this project so, I'll leave it alone.
| | 03:28 | Now, if you're trying to export files
for final approval for clients to look at
| | 03:33 | or small Web files, you probably want
to look at H.264 as your export.
| | 03:40 | And that's what I'm going to use
for this specific project.
| | 03:43 | When we click Render, this will go
ahead and render this one finished project.
| | 03:48 | So rather than choosing the name
06_03_Exporting, I'm going to select a folder
| | 03:55 | and choose a different name.
| | 03:56 | So I'll navigate in my Exercise Files
folder under Assets and I'll just create
| | 04:02 | a new folder, 05_Renders.
| | 04:06 | And in here I'll choose this folder
and we can rename this Travel.
| | 04:13 | Now that we've set that all up,
we can click Render and Photoshop will
| | 04:18 | chug right along Exporting the Video.
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GoodbyeWhat's next?| 00:00 | Well that brings us to the end
of Artistic Video with Photoshop.
| | 00:04 | And I want to thank you for joining me
as we explore just how to create artistic
| | 00:08 | video inside of Photoshop.
| | 00:10 | I have a couple of recommendations for you.
| | 00:13 | For more in-depth look at editing video,
you should check out Editing Video in
| | 00:17 | Photoshop CS6 with Richard Harrington.
| | 00:20 | And for a more comprehensive look at
all the fundamental techniques you can do
| | 00:24 | inside the Photoshop, check out Photoshop
CS6 Essential Training with Julieanne Kost.
| | 00:30 | Many of the same techniques she uses to
correct still images can also be applied
| | 00:34 | in a similar fashion with video.
| | 00:37 | And of course if you want an on-going
look at cool techniques you can use for
| | 00:40 | Photoshop, you should definitely
check out Deke's Techniques.
| | 00:45 | Now finally, if I've really piqued your
interest in Editing, you should check out
| | 00:49 | Premiere Pro CS6 Essential
Training with Abba Shapiro.
| | 00:53 | And if I piqued your interest in Creating
Motion Graphics, you should check out my
| | 00:57 | course After Effects CS6
Essential Training with me.
| | 01:01 | No matter what direction you end up
going in, I just want to say thanks again
| | 01:06 | and get out there and keep learning.
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