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With the release of Photoshop CS6, Adobe introduced the ability to edit video footage. Author Rich Harrington guides you through this brand-new workflow, from building a sequence to working with audio and exporting your video in a variety of high-quality formats. The course also covers how Photoshop's strongest feature, its image enhancement toolset, translates to video, from fixing under- or overexposed footage, performing color balancing, and adding vibrance and contrast to special effects, such as converting to black and white and using Smart Filters to soften skin.
If you're not used to video or animation, the concept of rendering may seem a little bit strange. This goes well beyond saving. Video is incredibly processor intensive. There's nothing harder for a computer to do other than maybe quantum physics or some types of 3D animation. Video editing is lots of frames really quick, with real-time playback, tons of audio effects, color correction, all thrown together. Show me any other instance where you could have 17 different files open at once, and mix them all together seamlessly? Well that's the case with video editing and that's why it takes time to render. All of this is controlled by the Render dialog, which has some pretty straightforward controls.
To access rendering, simply choose File > Export > Render Video, and this will bring up a new dialog box. You'll want to name the file that you intend to export. In this case, instead of naming it after the project, I'm going to rename it after the client, and the first copy I'm putting out is a review copy, since I need the feedback from the client, on the edit itself. You can then choose a destination. If you want to store the file in a subfolder, you can go ahead and create a new folder to keep all of the copies, I'll just call this Exports.
The next choice, is to choose from a variety of encoding methods. You can use the Adobe Media Encoder or create an Image Sequence. We'll talk about both of these modules in greater depth later, but here's a quick overview of the difference. The Adobe Media Encoder will allow you to choose from three different exports: a DPX sequence for stills, the H.264 file format, which is popular for web, multimedia and even advanced authoring applications, as well as QuickTime, which lets you access a variety of codecs.
If you need to create a still-image sequence, you can use Photoshop and write out from a variety of file formats, including BMP, Dicom, JPEG 2000, Photoshop and more. Please note though, that when exporting an image sequence, you will not get the audio included with the file, and these are generally reserved for animation only options. I'll flip on back to the Adobe Media Encoder. There are lots of individualized options here, which we'll explore in additional lessons. The specific thing here is decide what you want to render. If you have the completed movie and you want to export the whole thing, choose All Frames. If you're working on just a specific section, you could choose to use the Start Frame or the Work Area.
Remember, the Work Area can be set inside your timeline, and it's set by dragging these top bars. So if you want to just take part of the video, you can use that. I'll snap that back to the default view however. Remember, to engage rendering, it's File > Export > Render Video. Stepping on down through, we also have options for Alpha Channel and 3D Quality. Since we're not working with just graphic source material here, nor did we use any 3D models, I can leave these alone. When you're all set, you'll click Render, and probably walk away from the machine while it works.
In the next lessons, we'll explore the many different formats you can choose from.
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