Want to step back to that other example with the still images to show you some of things we can do over time, which is kind of interesting. So before all I did was I just either did a simple transition, or I use one of those built in movement things. But you can also move things yourself, there's a lot of things that can be done over time. So, for example, let's, go over here. Did this not that for this one right here on this one. So let's say that this one when I tried that built in zoom or pan, it went to her chin because it always was right to the middle. But I want to zoom in, but make sure it's going to the place that I want if I was scaling this, if this was not a video, if I was just scaling this up, I would use free transform and I would move it to the position I wanted. And we do basically the same thing with this, but it can be done over time on the timeline. So the way we do that, this is where I need to get my thing a little bit smaller here, ok, so here is the clip that I ...
want to use it shows me the name of it also make sure that in the layers panel, I'm in the right place. If I twirl down this little triangle you'll see on the side it now says transform opacity style, so that means overtime. I can change those factors aiken transform over time, so as the video plays it, can, whatever zoom, rotate pan transform I could have a clip fade in or fade out if I want to do a really dramatic fade in, as opposed to using that cross fade, aiken set the opacity to say go from zero to one hundred over a much longer period of time, or if I have some kind of a style, like any kind of layer style, like the colored overlay or whatever it might be again, you can apply that over time. Remember I told you right up front that one things that we make sure to do was to make these smart objects, because if I hadn't done that now, I would have a problem because if I just free transformed it down and that this was its new size, if I tried to transform it up over time, it would do it, but it wouldn't look very good. Because I'd be scaling a bigger than one hundred percent when you make a smart object one of that the benefits of doing that is it remembers I was really this big even though you're only showing me this big so now I can scale her up over time it will do that and it won't lose any quality for the way we do that is on the timeline underneath this clip you see there's a little thing that says transform so I just have to decide where I wanted to start an end and the nice thing about the way this works is even when you put in these things called key frames which is what determines the start end of that transformation you can still move them around so you're not stuck with I wish I hadn't put them there you can still adjust them accordingly so I'm going to say that after a little bit I want to start the transformation so I clicked on little stopwatch and that's going to add this transformation and then I say and at the end of this I want the transformation to finish so now I hit commander control t and assume a little bit and zoom in and strolled out and maybe rotate just a bit as soon as I enter now the other key frame has been put in automatically so I said start here I moved my mouse in the position where I want and did my transformation since I hit enter then it's ok, so that's where you want the second key frame to be so that's the range of start and end this transformation and in video they refer to this a scrubbing where you're just kind of going back and forth because video takes some time to render so if you're always seeing the play button there's going to be a slight delay and it catching up it kind of looks choppy and you have to listen to the same song over and over again so there's benefits to also just manually scrubbing this but you can see clearly it's doing exactly what I wanted to do overtime and I might look at and say when they wanted to start a little earlier and end right at the end of this that's completely up to you and because it always looks better with sound now obviously because of the size of my monitor, I scaled down the video so I have more time line and this is where having dual monitors something would be probably pretty nice but I don't so that's okay, we'll live with it. The bottom line is, you know, that's if it works that this size is going to work at the bigger size obviously so these transitions can be many different things that could be just again transforming size or making a very dramatic rotation but also again changing you'll pass your style the main thing to remember is you're doing it over time now I want a posture a second and say so some people look at this say, you know, I don't know if I would actually do a slide show and that's fair enough, but I wanted plant seeds in your mind about other ways you could use video so for example, I was dealing with a friend of mine who has he does little behind the scenes videos when he does a photo shoot just to try and promote his photo business of show some what the experience is like. And he said, I just like at the beginning a very simple like here's my logo and I was like, well, here's my logo is like a still slide that says I'm boring because my slide just sits there and does nothing. So it occurred to me that with photo shop and the way that this works we could try to do something a little more interesting still using photoshopped techniques so here's what we did this was not his logo but gives you we'll give you the idea so first of all, this is just a typical photoshopped document it has a black background the logo comes from adobe illustrator so it's an illustrator smart object which simply means if I wanted to edit colors or something I still could but I want to make this into a very short little you know three to four second view just kind of those tanks and what that is something that makes you go oh look something moved and I'm like well I'm not going to like twirl around a word so I need to come up with something that will just look like and occurred to me that you see those things where something just kind of goes a little reflection or glint across our little starburst or a little something or other so that was kind of the idea so this is at at first just a standard video are sorry it's still image nothing unusual so as always when I'm doing video I have to first tell it well this needs to be a video so soon as you click add the timeline it puts whatever's on there all ready to go but now I can do all these video things so my first thought was I want to do like a lens flare thing that kind of zips across the name of his company right across here so again if this was a still image I would add a layer and I would fill it with black and I do a lens flare and then position it and change the blend mode to scream to get that effect so why not just do the same thing here but have it moved now? The only problem with that is if you've ever tried this, a lot of people try putting the lens flare on a black layer it's a very popular thing, he put it to screen mode. The problem is, if you move it a certain distance, sometimes you see a very subtle edge because the lens flare went right off the edge of your image and you can see it's not pure black anymore. So the solution that I've uses I deliberately make a lens flare in a much bigger document. So for example, this is twelve, eighty by seven, twenty pixels. I know that because that's the size that video is, so I'm going to make a new document and make it bigger. I don't know how big exactly, but you know, bigger, and then we fill that with black as a habit, I just can't help myself. I'm going to convert to a smart off the actual aiken run this lens player as a smart filter, so I can continue to work with it if I want to, and the other thing I would do is the way this the lens flare filter works is the bigger your document, the more it will expand into that area, but I still wanted to be kind of centralize and just have all this extra black, so I would take like my marquee selection tool and add a whole bunch of feather to it before I do that lens slur it's going to restrict it more to the middle so now we go render lens flare this is the only part that you have decide is the relationship between the flare and little reflective you dad's click ok and once I've done that now I can drag this on to the other image and it's much, much bigger. So now we changed the blend mode to screen that takes away the black from the lens flare layer, but now what it means in the fact is I now have a movable lens flare because I made it so big matter how far I move it, I'm not I have to move it really, really far to see that a little line that you would see in fact, I could probably afford to free transform it down a little bit because it's probably I have more than enough room to play with you may have noticed there by the way, if you have ah layer a smart object with a smart filter since you hit free transformed it takes away the filter temporarily to help you see how your transforming so don't be surprised if you do that the first time and go my lens flare go it's just temporarily gone away, so now I have this little lens flare and might still be a little much so I might decide to lower the opacity that part's completely up to you or I could also and this is the experimental part I haven't don't really know I don't have an exact plan I kind of do, but I don't have exact plan, so I might say, what if I just want the lens flare toe on ly show up within the logo? So if I did a a clipping group, then the lens flare would only be available it's just a much more subtle if it I don't know if I like that or not, but it'll be something to try is now when I transform this over time, it will only be visible inside the letters. I think I'm going to probably not do that because I wanted to be a little more dramatic, but part of the reason I'm showing this is to re emphasize the fact that what I'm doing here is things I do all the time and photoshopped, so when I'm experimenting photo shop, I'll turn on the massive her back on I'll try a clipping master with that looks like and back off again, it just happens on top of that, things also move all right, so now let's try it and the on ly the biggest challenge, frankly, that iran to with this idea was trying to figure out the timing because when you're doing things in photo shop because as to render it seems like it's really long and then you run it in real time it's like ok that's actually only three seconds which is what I want so that's the part takes a bit of getting used to is in here this what looks like a long time line is like five seconds it looks much longer because I've stretched it out that long but I really have to look at the actual time it's gonna take so same concept applies twirl this down and say ok I want this layer to start here and then I moved to the end it free transform this is a little tricky because again and free transformed the lens flare goes away so I just have to know it's over here approximately and so I wanted to end up over there so now I have a little thing called around I just have to find a sound effect that goes around and then you're good to go now this is the part this is why I at first scrubbed by hand because if I just right away had done this and said let's see what that looks like it's like and that's perfect it goes so slow it's ridiculous but that's because if you know how we could see if there's a little tiny green line above there that's it's still trying to render the effect so once you've done it the first time then the subsequent time would be a little faster start to see how it's gonna work so it's a little faster now and you may decide that ok that's still a little too long so you take all of these things and just collapsed down the length to make them and it's kind of nice for that kind of snapped a fit so if you decide ok this is the size that I want at a certain point obviously we're going to again say this as a photoshopped document to keep all the elements that I can work with but I the whole point of this is getting this out as a video format and unlike discussions ofthe still images where you can say p s d j picked if you know it's pretty straightforward video world is a whole another world timing it show you how you do it where it is and then the formatting you use will depend a lot on what you're going to use it for and usually that means someone in video world says make sure you give it to me is an age to sixty for impede whatever and they tell you what it is so once you're ready to go then to actually get it out into video we choose export render video and this very scary looking giant dialog box comes out with all the different options that you can choose including, how do you want to save it all the different formats and there are some pre sets that are very nice, so I would base this on either trial and error that if you're doing it for yourself or looking up, people say the most common thing you hear, like h two, sixty four's, an mp for file and so on. And once you do that, then you'll have your finish video that khun b then incorporated in what other ever other video you're doing as a little in this case, a little thing at the beginning or end of his videos. Okay, so I wanted to take kind of a break from our editing a whole bunch of clips to show you that even something where you just want to do something with motion in it can be done fairly easily. Building on our layer cons that it will put a layer up here. And then I will change the blend mode or change your past year at a mass or anything of that nature.
For 25 years, Dave Cross has been helping photographers and creative professionals get the most out of their Adobe software. Since 1987, Dave has taught Adobe Photoshop®, Adobe Illustrator® and Adobe InDesign® to thousands of users around the world. He has a Bachelor of
For years I have observe that video thing at the bottom of my CS6 program. What would you do with it. Nor could I do anything with it. I saw this course offered at Create-live. WOW, what a wonderful course. It sure helped me with the basic uses of this part of adobe photo CS6. Thanks