Working with Video in Photoshop®


Working with Video in Photoshop®


Lesson Info

Working with Video in Photoshop®

We are excited to have missed julianne cost in our studio right now we're going to be talking about video in photo shop and if you are a photo shop and light room user you have you are very familiar with ms julian cause who is one of the principal evangelist for photo shop and light room she has I don't even know how many tutorials and videos that you have created go to photo shop team me I mean there's just gonna you're say this one's going to be the best one ever think the best one ever she is a woman who has dedicated so much time and energy to educating people around the world so we are thrilled to have her here and finish out week well all right so let's get this let's get this started so just out of curiosity for the people here how many of you guys have use video in photo shop? Ok, so two of you not bad right and the rest of you this is like new all new information okay, so it used to be that photo shop had like a extended version and then a regular version and you didn't get vi...

deo unless you got the extended version forget all that if you have photos fcc you get all the video features and so in the next like ninety minutes I hope to go through as many of those features as possible I want to use not only some still images but also some video clips and I thought the best way to start with some still images would be to do some time lapse because that seems to be really kind of an in thing right now so we're going to start with this siri's of images and I'm starting in the library module in light room but it really doesn't matter I could be starting in bridge it doesn't it doesn't matter what I want to show you is how you can quickly make adjustments because well the stormy typically when I am doing time lapse something's wrong with the images and I still want to adjust them like we all do with even are still images right? We want to make some adjustments in camera ross so that's what we're going to dio but before before I do that we should talk a little bit just about cropping images so I'm gonna go to the developed module and you guys probably know like that you can go to have the geeky or you can go up here to the develop module in order to move over there but if I want to go to the developmental and I know that I'm going to use the crop tool that I'm just gonna tap they are key right? So I know that's a little different of a shortcut but I always remember it as like a cur up because it's girl great! And so sometimes it just seen it would take some some way to remember something. So for the aspect ratio here, video is a little different from what we're normally used to seeing when we capture with our digital slr zor just our sellers trying to get rid of the digital just sl ours, so you'll notice here for the aspect ratios it's set right now to the original, which is two by three, but then we do have some video aspect ratios right down here, which are great, and they're a great starting point. The the only thing is I want to actually build this file a little bit wider so that I can pan it because I don't have one of those fancy rigs that actually, like pans the camera as it moves through time. So what? I'm going to kind of fake it here on what we're going to do is we're going to crop it just a little bit wider than the aspect ratio, so that when we take this into photo shop and create our movie from our image sequence, it will go ahead and give us a little bit of extra room I wouldn't have to do this so photoshopped has the ability to pan and zoom and do all of those things. But it's going to interpol ate up the information if my files you know, two small if it doesn't have that information that's gonna have to make up that information so I prefer to just do it because I'm a control freak because that's the way I am yeah, so many things that's really what it all boils down to is I want control so s o in order to crop this I'm going to go in here and I'm gonna create a custom aspect ratio and you can see I already done it but we'll do it again here so my custom is going to be you know it should be twelve eighty by seven twenty if I just I wanted to do seven twenty p or it could be nineteen twenty by ten eighty if I wanted ten adp but since I want a little wider than that I'm going to keep the seven twenty is my height but instead of doing twelve eighty I'm going to go to maybe fourteen hundred so the difference between twelve eighty and fourteen hundred is going to be the amount of distance that I can pan and that seems to be a decent amount for the clip that we're going to make because one of the things I noticed you don't wanna pan too fast because then it's like uh you know too much motion and too quickly so let's just tio fourteen and because of the fourteen hundred by a seven. Twenty, I can just put fourteen by seven point two, right? Because this is like it's the aspect ratio we're looking at, not the total pixel count. When I actually export these files, I will export them at the a proper pixel count. Right now, I'm just making sure that the aspect ratio is correct. All right, so we'll click. Ok. That's the aspect ratio kind of unfortunate because there was some cool stuff that goes on here, but I'm gonna crop that cause I want to make sure that I get the entire tower here. All right, so then to apply, that will just tap return for enter. Now, at this point, I could have all of my file selected, right? And then I could be flipping on, right? As soon as I have more than one image selected here, I could flip on auto sink, which is fine, but I have seven hundred images here, and so I'm just going to correct this image and then synchronize all of the rest of them. And I know it might be an extra step or two because I have to click saying can and tell it what I want to sink, but I've noticed, you know, if you have a time of images selected and you're making a lot of changes, like if you're going into sliders and adjusting a little and then adjusting a little and then adjusting a little bit, what light room does is it kind of waits for you to pause because it's like, are you done? Are you done now? Let me show you if we go to the basic panel, and I start saying, ok, well, I would like to go in here and maybe add a little clarity if I have seven hundred images selected it's, like, changeable come on, you're like, you know, maybe a little more change them all because it's going away because they want to do that as a background process, right? It doesn't wantto it wants to make sure that you have all the power you need to adjust the image that you're looking at, and then it will do that in the background. But instead of having all those the thumbnails update and everything, I just find it easier to come in here with one image selected, going here to clarity. Well, go ahead, increase that quite a bit, we'll increase our vibrance quite a bit, and what else do we want to do in here, we probably we want to go to lens corrections right? So I definitely want tio correct so I want to enable the profile correction you can see that made a rather large change because I was photographing with a wider angle lens and then I want to remove my chromatic aberration so that's something I want to do to all of the images I also want to come in here and maybe we want to add a little bit of a graduated filter in the sky so I can just click and dragged that in that's just going to give me a little more detail they're so you notice that I've got a little decrease of exposure I can do that I can add a little bit of contrast I could bring down my highlights obviously we can make multiple changes here but this isn't all about the develop module so let's just say this is the way we like it we go back to go back to grid view or we could synchronise our settings here it's totally up to you I'll just do a command aor control et on windows that selects everything and then we can tap synchronise now I don't want it to do the basic tone in fact I could go ahead and check all and then check off basic tone right? Because I have made some changes to this I actually applied the auto filter you know that's a good safety tip I remind me to come back to auto the auto option here basically everything else like my well, I could go in here and we'll check man and I'll be more specific about it. So what did I added? Added clarity I added vibrance I added a graduated filter I added the lens correction here I didn't add any of these, but I did do the profile and chromatic aberrations weaken turn those off and we also want the crop there. If I've done any spot removal, we could do that and I'm going to check on the process version I just leave that checked on. What that does is it enables me to to make sure that the process inversion version is included if I had files that were had been changed previously in a different process version, so I just typically leave that on we'll go ahead and click sink and then it will paste those settings and then it will start redrawing all of those thumbnails there. And in fact, if we go back to grandview, we can see as those thumbnails become updated here you can see them fill in so just one little time out with the auto command because if you go into the develop module and you actually click auto and the basic area and you click the auto for toning this auto button right here, you don't want to synchronize that well, you do if you want those exact numeric values across each image, but if you want light room to actually look at each image uniquely and apply the auto adjustments based on the history ram of each unique image, then you would want to select all flip on auto sink and then click auto and that way it goes in and it calculates each one independently as opposed to copying and pasting the exact same settings, those exact same changes that you make to the slider so that's just something to be aware of. Okay? Going back to great view now I'm let's say I'm ready this at this point to export all of these images because I've cropped them, I've made my adjustments all right? But I don't want them all, and this is what happened. I was like, well, I don't really want seven hundred fifteen so how do I go in and select every other one or every third or every fourth? Now? Sometimes, depending on how long you're sequences and how you have named your sequence, you might be able to do some filtering maybe based on a numbers or something, but what I did is I just tapped the tab key to get rid of my panels, and I set up my thigh some nails in a manner that every third image was the image that I wanted all right, so going to be like I want this one I don't want I don't want I want no, no yes, no, no yes, no, no so that it cycles around. So the next row is a yes, all right? And then all I did was I took my painter tool and I set the painter to flag and you'll notice if I click and drag down, I can drag my flag and paint a flag on all of those at once, and I just hit undue commands here controls ito undo that, but that might be an easy way if you've got a ton of images and you only want to select like every third one, it would be very painful to go like click on hold down the community click click, click no kill me now we don't want to do that right? So what we do is we do the flag and then we just say thank you very much light room you're better at filtering than I am so we come up here to attributes and we would say, show me all of them that are flags. So now you can see down here it's telling me that I have two hundred thirty nine out of seven hundred fifteen images open, okay, so then we would select all these and we would export them right? So tapped the tab key again and will click export. So what we're doing is we're getting an image sequence together, and the reason that I want to walk through this is because there's a lot of places you could make a mistake, one of them is with file naming because I'm selecting like, every third image when I export these, if I keep the name the same, I'm gonna have gaps in my sequence, right? It's going to jump from number one to number four to number seven and so on. All right, so you can't have those gaps in the sequence if I want to bring this in as one single image sequence in the photo shop so there's a few things I would do, I would go ahead and tell it to save the images right to a certain location, and I've already done this. We don't have to wait for it. I would also tell it to rename them, or you can rename them later in bridge or something if you want to, whatever you want to rename them, but I would probably come in here and I would say let's, edit this let's keep the original file name, but let's also add a sequence at the end. So that they will all have a numeric sequence with no breaks in that sequence. Ok, all right, and then what else would I need? I need to go to file settings and tell it if I want a photo shop or a j peck file if you're looking for the highest quality, if you're goingto make manipulations in photoshopped to this video clip that we're going to make, I would keep this as a photoshopped document otherwise, if you use j patterson, then obviously will compress it. I'm good with eight bit image size, we need to resize this to fit, so you'll notice that I went into the short edge. You could use the long edge if you want, but I just said, hey, that short edge, the height of this is going to be seven hundred twenty pixels that will give me the fourteen hundred that we entered in that aspect ratio for our crops. And then again, if I wasn't going to do anything else and photo shop, I would sharpen it. In this case I am going to do something, so I'll take that off metadata, copyright and contact info is fine, no water marking let's, make sure that's off and then post processing do nothing, and then I would probably add this is a little preset if I was ever going to do this again. So I'm not actually gonna hit export because I've already exported all these files just to save a little bit of time so magically just like julia child look at those exported jpeg files how lovely all right so jayne julianne they don't look exactly the same no I spent a little more time on them okay so let's go ahead and let's go to photo shop because we have to figure out how we're going to get that image sequence in the photo shop and believe it or not it's really easy but it's really hard to find so how easy is it it's azizi is doing a file open but I don't think besides video I haven't seen the photo shop open dialog box in probably ten years right like who goes to file open anymore that's terrible somebody does and I know they have good reason to do it but I don't typically do it yes I'm so when you're ah in light room and you've now made this images seen it's a sequence of just exported a number of j peg so if we look at that this is what I've exported right all these different individual images yet can you select all and then right click and send to photo shop there I could I could select all and then I could say like build layers or something and photo shop but that is way too hard and I am way too lazy hey, so is anyone in the audience ladies lazy just out of curiosity I think that the people who raise their hands are actually not lazy enough it's the rest of you that were too lazy to even raise your hand that's what I'm thinking ok, so the problem is is that if you made a file a document and photo shop that had all these layers then I would have to like converted in photo shop and this ways even easier so when you're in photo shop if you just do a file open check this out we will go teo find these finals where these files good question time lapse no, they're not so we're going to go to the desktop we're going to go to my demo files were going to go to the image vault we're going to go to two thousand twelve we're going to go to where are we? We're nowhere in two thousand thirteen we're in china and we're going to go down to the bottom of all these we're going to go to our time lapse j picks ok? Oh, they're not j pigs did I say I exported to miss j pigs I exported in his p s d five u people need to correct me really I mean well, I know get with it cost all right? So they're psd files and you'll notice that they have not been renamed well, let me show you what happens if they're not renamed, okay? You hit image sequence and then you think you're going to outsmart me like image sequence, I need them all. Uh, don't do that because look image sequent goes, goes away you just need to pick the first one in the image sequence and then say yes, please politely photoshopped that's what I want then photo shop you say open and you say, how many frames a second we're going to go twenty five because that's what I'm going out put it as all click ok, and it says so politely to me, the sequence has gaps tell me what to dio just tells me what's wrong and I'm like, ok, so when you hit, continue if you tap play there's nothing wrong with their monitors on the internet that's what happens? Do it ok, so we don't want that, so we close that we don't save it. So how? Like I go back and forth between light room and bridge quite often, so we'll just come up here, you can see here's my image vault again, we just go to two thousand thirteen, we can go back to china, if only oh, no, wait between china, yeah, we're in china, so we'll click on that so here are my j figs, which we all know are really psd files so we do a quick select all and then I think it's really easy just too bad to rename them right here because honestly, I don't really want these in my lifetime catalog anyway, so I don't care that I'm battery naming and bridge because I don't want these light room all right? So we go to tio two battery name and then we're just going to we can leave the file name the same like I was mentioning a minute ago so we'll use the current file name all right? And then we will add let's add I'm going to say at a little text and what's that text gonna be it's just gonna be an underscore and then we can add more in this quest case I want to add my sequence and I want to add a sequence number and three digits it's fine and we get a little preview let me move that up so we get a little preview right here. This is ok. Keep all of this the same at an underscore and no one now and I hit rename fabulous! They're all renamed we go back to photo shop, we do a file open commander control o now all of these have been renamed so now and I select the first one say image sequence and click open I'll pick twenty five again and it doesn't give me that warning and I can tap I do this sometimes just to humanize photo shopped to make the demo so so everyone thinks like oh I'm not the only one that makes mistakes okay what have I done it's getting confused so it's getting confused because of the way that I renamed it but I would just hate to do this perfect every time so let's go back and rename that again ok so what am I going to do? I'm going to change the name completely because it sometimes I have noticed if I've got some numbers like what is this wait wait wait what is this to forty oh no that's what I asked it tio yeah I think it's this underscore that it's bugging it so what we're gonna do is we're just going to go here for text and I'm just going to call it um what am I going to call it? I'm going to call it china okay? And then I'm gonna put an underscore and we're gonna put a sequence I'm gonna say one in three digits and we're going to say bridge I'm sorry that I made fun of you because you were busy doing something else and I was impatient it's my fault I'm being sincere just like jack davis taught me well, come back over here we'll goto photoshopped will do a file open here they all are image sequence open twenty five frames tap the space bar show oh, geez and we're done I got to go know all right so that is how you would make of this oh, what is that? Who is that guy up and we're gonna ignore that I'm glad I pointed it out seems to be there's a little hiccup there I don't know what happened I probably kick the tripod in my hotel room to be honest that's probably won't happen but that's ok let's let's just imagine that that little hiccups not there I could go in and I could find that right that one frame that's up a little high and then I could throw it away but what would I have to do after that renamed them again? Otherwise I would have that gap in my sequence no one who watches this will ever forget the how to rename their files ok so let's say that I want to add like a tilt shift effect to this right so let's go back this is this is my time line down here by the way right? So my timeline this panel if it's not visible you khun you know I forgot to turn off gestures didn't I guess if the timeline isn't visible you can either go to the window menu and come down here to timeline or you can actually change your your work space if you didn't see my presentation yesterday, I happen to like my layers of my properties panel on everything over there so I'm sorry if death and familiar, but it just saves me a ton of time because I can pick my tool, pick my layer, pick my properties for my mask and also for my adjustment layers and select all my options here without constantly going back and forth from the left to the right side of my my my monitor, which on a laptop doesn't seem so bad, but when I'm home and a larger monitor, it just takes way too much time. Ok? So if I were to add something like, go to filter here and go to blur, if I were to add something like one of these till shift blurs, it would only add it to one frame in the image sequence and I needed to add it tio all of the frames, right? So before we add any of our filters, I'm going to need to convert this for smart filters. Now, if you're not familiar with smart objects, this is basically making it a smart object, so it really doesn't matter if you use this option to convert for smart filters or if you go under layer and you go to smart objects and you convert to smart object or look over here in my layers panel, I've got my video group here's my layer it's got a nice little icon, I believe I can zoom into that if I am yeah, there we go, so see that little video icon right there so we can see that I can change that now by right mouse clicking and then saying, please convert to a smart object now, once it's a smart object, did you notice that this turned purple instead of blue? So that's, how I always know, except, you know, obviously I could go over here as well, but now I could go to filter and I can add any of my filters, and I don't have to worry they're going be applied to every single frame in my video clip because it actually, you know, photos have actually turned all those individual images into a video clip, huh? Sort of one of the things you have to know when you're working with video image sequences or video. These are referenced files, so be a little careful because don't throw away your original video because this project that we're going to save is just pointing to that sequence of image, otherwise the files would become enormous really quickly, okay, all right, so let's say, we want tio just change the angle of this a little bit you probably know that if you click in this area right here in between the dotted and the solid lines, you add a secondary till shift, which I don't really want. But if you click and drag it's a nice way to rotate, because otherwise this is a little rotate icon right here and it's so close to the center, and I'm such a spazz with it that I can never really get it to go where I wanted to go, so just know you go all the way to the edge of your frame and then just click and drag here in order to rotate them. All right, so this is a little bit much of an effect, but since this isn't all about blurry and it's all about video let's, just quickly apply that tap returner enter now a minute ago when I tap the space bar that's the same thing is hitting a little play icon, this little arrow right here when I tap the space bar and went really fast, right previewed really quickly. Well, now it's having to do a lot more it's having to actually calculate that filter on every single frame. So right now, what it's doing and you can see there's this little turquoise line right here that's the preview that it's building so once it gets done and to the end of the clip, it will go ahead and play it more quickly, or we could just come back here. This is our current time indicator is what we call this right here if I click and drag it back to the beginning. Now, aiken tapped the space bar and you can see that section that's already been previewed. Well, go ahead and play much more quickly, much quicker, much more quickly. Er okay, all right, so ok, so that's kind of an important note here because what I'm what what I want to make sure is clear is that I think that video in photos, um, is a great way to get your feet wet. If you're if you want to dedicate the rest of your life to editing video, you're going to need to learn a dedicated video editing tool. If we have time, I'll just take him into premiere for like one or two minutes at the end, just to show you some of the things that air kind of easier to do and much faster in premiere because what we have here is we actually have. We have I think it's called the mercury graphics engine where we're using the graphics card in order to speed up the processing but we don't have is the mercury playback engine which is what premier has and premieres adobes video editing application and that and after a fix which is special effects so once you like kind of if you just have a four minute five minute video and you want to add audio and you want to make some changes and output it photo shop is awesome you got an hour and a half documentary move over to premier all right? Ok so with that being clear but not in a mean way right? Okay. All right, so what else do I want to do here? Oh, I want to add some audio so right down here we have an audio track you can add multiple audio tracks right here you just click on the little notes and then you can say add audio or a new audio track so that would be you know, an additional audio track I'll go ahead and add some audio we'll go to time lapse there's a nice audio right there go ahead and hit open come back to the beginning now it's gonna preview find for a minute but watch what happens now that I've added audio when we get teo the five second mark there and the preview this little guy right here has not been built, so it goes along just fine. Except there's. No audio. Ok, so there's, no audio, because julianne turned it off. See, this is not photoshopped fault. This is julianne's. Fall right here. You can mute your audio track. And I did that earlier because I was annoying people in the break room. So let's, play that and I still don't hear my audio. Why don't I hear my audio? Uh, okay. It's on now. What's happening, but ok, so what happens is once you've added audio photo shop says, well, I'm just going to skip frame and because I want to play the audio correctly, so because it doesn't want to break up the audio and sound like, but so it will skip the frames. The only way to tell it to knots. Well, there's a few ways, but one of the ways you can tell it to not skip frames is to turn off the audio right here. So now it would go ahead and build all of those intermediate frames. Okay, all right. The audio is very long. How long is it? Well, I could use the slider down here. In order to kind of zoom out, out out so you can see it's really, really long sometimes it's easier though just to put your current time indicator so that's this little guy right here just drag it over in the timeline where you want to split or cut the audio and then we can just click on this scissors here and it will cut it for us that way we don't have to zoom in and zoom out so much. Then we can select that and just tap the delete key in order to remove it there from our timeline, right? And then we can go ahead and we can change the clip here if we want to the length of the clip, I'm going to leave it a little bit longer probably than the visual here or we can go ahead if you just click on the end of it. You can see I get this little icon that has the double and headed arrow there and I go ahead and just move that around. All right so we can have them in that the same portion if we want and then there's a little arrow icon right here and if we click on that we can tell it to fade the audio and we can either use the slider we could just say yeah, you know over five seconds on a five second fayed or something? You could make it longer than the the video and inhabit fade out afterwards. Whatever you want, that's, how you control the volume, the fade in and the fade out of your audio. Okay, so that's all right, there. So now if we tap play what we'll hear the audio no, we won't cause I turned it off. We'll turn it back on, so and now you can hear that it faded out there. All right? So pretty easy to work with audio on dh this image sequence. Now, at this point, we would probably want to save the image, right? So if I go to the file menu and we click save and I will save this as having a and we can save this to the desktop right now, this is a psd file, right? Um I'll save it with my layers and everything. We click ok, then we need to go to the desktop, right? So let's, open up. Just a new one here. So the desktop here's the psd file it is eleven meg's it's a little bigger than I would have thought if they're just pointers to all of those images. But if we also go and we look under demo files, we go to my image ball two thousand twelve no, sorry thirteen I got the wrong year again. We go to china and we come all the way down here and we look at this folder and we get info on it that's eight hundred sixty meg's so all those individual images that would've made a huge photoshopped file so that's why we're just using a pointer system? We're just referencing those files, but it is bigger than then you might expect. And the reason for that is because I turned the image sequence into a smart object and when you do that photo shop is going to make a preview file of that smart object at that size it's like it's making a little kind of almost that's kind of misleading and what I'm gonna say that it's kind of like a little mini video clip inside of it, so that if you did throw away those files, at least you would have the smart object representation, so just make it easier on yourself don't throw away the files but just know that's why those the psd file that you save kind of the project file that you save is a little bit larger than you might think it would be okay, so that's just saving the project, though if we wanted to then go ahead and export this, we'd go into the file menu goto export and render out the video so lots of different options here, we're going to name it it's going to be an mp, for we're going to use adobe media encoder in order to do that. If you were going out to after effects or something, you could use a photoshopped image sequence which we brought in him and in an image sequence. But you can also export the image sequence assed faras formats go let's leave. It is h two, six, four and then we have a ton of debt presets here that you can select from, so you would just choose the one they want. You can go in here and you can alter that if you want to refine it, customize it. The only thing that I will point out this is a pretty important button right here. I would leave this on, especially if you have some video and since most of you are photographers, you might also have some still images that you want to incorporate in with your video. If you don't choose the color, manage them and you have things like your still images aaron pro photo or adobe rgb, then that's going to look different when you put it on the web, right, so you just want to say, hey, let's color, manage this, and that brings everything down into the rgb color space okay, so that all of your still images and all your video images are in the same color space, all right, if you just want to export it a certain range, you can do that, but otherwise I would just klick render and that would render that out, so probably don't need to waste the time actually rendering the movie. I think you guys can understand what it is we're doing so let's, move forward and let's, start working with some video clips. Now, some of you guys might be starting from light room. Some of you guys might be starting from photo shop, so the on ly sorry. Starting from bridge, the only thing that I'll mention is if you are starting in light room, probably the easiest way to get these video clips into photo shop is to select them and then drag them down okay on the mac, when you're in light room and you're in full screen, when you go into the different modes, it won't actually let you bring up your doc, so I had to get out of that and now when I go down there, it would bring up the dock and we could go ahead and just drag and drop these on top of the photo shop icon, but what you might have noticed is that it didn't bring him into one single document. So they're all four separate documents you can see there tabbed there so we can tab through them but I would really like the light room to have the ability tio to bring them all into one document which unfortunately right now it doesn't even if you're in light room in your right mouse click and you say that it in see because we're working with video it's like I'm sorry I do not understand what you are asking me so so the easiest way is just drag it down to the photo shop icon it opens them all up and then you could drag and drop them together but since these air all in the same folder, wouldn't it kind of be easier if we just look for that enbridge right? Because enbridge if I go in fact here's something if you're if you're in like if you're in light room like oh I've got this file here I wonder where it is on the hard drive you could write mouse, click and you can always say could you please show me that in the finder and it will show you all of those images right? And then if you had bridge showing or you don't even have to have bridge showing you can just select these images or you could select the folder and just drag it on top of the bridge icon and it will redirect bridge to go see those images yeah, so it's kind of like because otherwise I you spend way too much time in the finder because I'm extremely organized. I'm very tidy, obsessive compulsive so I mean, you can can you not tell by my little structure hero would you like to know about my double foil? Ok, so what do I want? I'm going to bring the lower rez ones in I'm cheating right now I have some I've already rendered these out as lower reds files. So instead of being ten adp there seven. Twenty p okay, don't tell anyone alright, but it's just gonna make it a little bit faster when we bring these into photos. So now since I'm in bridge, I could go to tools and I got a photo shop and now we can come over here and I can say, could you please load these files into photo shop players so what's going on? It brought him in one document. I have four layers we can see those four layers right here, right in my layers panel I tried to use this as pressure sensitive and it it worked that's funny, right? Have you walked up to your tv lately yet and tried to, like, swipe it or tap it there's something hey, see kids doing that now all the time like if you go there the tv store or you know you're in costco or something in the like lock up and try to swipe the tv? Yeah, all right, so I've got four individual video files as layers all stacked on top of each other, so we can see in my timeline now when I play the timeline, all I'm going to get is the top most layer because that's, just the way photo shop where is the layer on top always wins if I want to change that. What I need to do is I need to put these into a video group. Now you should know that you can select your layers on the layers panel, or you can select your layers here in the timeline. So, for example, by this layer selected, I hold down the shift key and I select the top layer it's like all the layers in the timeline and that's reflected on the layers panel. So now if I use this little cute icon for the film strip there, if I select new video group from clips, photo shops going to take all of these individual clips and put them into one group like a layer group only this is a special group it's, a video group, and the reason that it's special is because look what just happened, it just sequenced all of my clips so it's smart enough to say you know you've got a bunch of video you're putting him in a group I bet you want to do that for a reason you probably want them to play one after another so that's what we just did and now you can see we could I'm not going to have the space bar because this has well, sure it has audio it's terrible audio sorry we will show you how to turn off the audio in fact let's do that right now as the first thing we're going to turn off the audio because it's so bad with this clip so there's a little arrow right here all right? And we can change things for the video and the audio so duration and speed but this little you know, the music notes takes us audio and weaken mute that so what I'm gonna do is I'm just going to mute these all at once julian can you mute them all at once like with one single keystroke oh no I'm sorry you can't okay yes question yes can that can that audio track be pulled out as a separate audio track and then be adjusted as no okay, thank you know okay, wait I fire people who ask questions that make me look bad, remember oh, ok on ly easy questions from now on all right, ok questions that make me look bad totally inappropriate alright tap the space bar now we can just watch the video without the audio now how do we re arrange these? Well it's really easy because oh, I should point out it closed the video group but let's go ahead and reveal the contents of the video hopes of those the individual layers now watch what happens if I grabbed this layer and I move it you can see that it changed the stacking order in my layers panel so the thing I think that's the most difficult when you're first starting with video I mean it's hard enough when you first start photo shop it's hard enough to keep track of your layers now with video you kind of have to keep track of your layers and where you are in time because you might have the current time indicator so that your viewing this but then you might have this layer selected right? So you do you have to kind of pay attention to that stuff. All right let's go back to the beginning of time time travel just that easy all right and let's say instead of instead of repositioning the clips the sequence of the clips I just want to shorten eclipse so and we could just click and drag and we get a little pop up window right that will tell us exactly where we're going tio create our new out point, and then we can just release the cursor. And did you see what happened? All the other clips just came and tucked in next to it. So there's not a gap there, right? We're actually rippling those all together so that so that you know, there's, not a big gap in. Then you would have to move all the other all the other layers or video clips. So then, if I know how long I want this to be, I could also just click on that triangle, and we could say up. You know what? This really just needs to be five seconds, and you tap into return. Now we have a five second clip. Or again, like I said, you can drag a new outpoint and you can also click on the in point dragon knew in point, and it closes. But that space yeah, if you decide to clip, can you replace it? Can you replace that? You can replace the contents of a clip. You can also stretch it out later. Is that what you mean to you can also stretch it out. So if I decide later, if I said, oh, you know what, I'm going to trim the the in point of my clip, and then and then you say, oh, I need mohr of that in point we could select both of these layers, and we could just scoot this over a bit and then I can stretch it back out so it does have memory. Oh, yes, oh, the clip is always there yet just imagine here's your clip, this is the length, the duration of your clip, and you're just saying, ok, hide this, just make my new in point here and hide this, but all that information is still there on either side of the clip, what you can't do with what would be really cool is if you could trim the in and out point and then somehow slide what you're seeing, like you're saying, ok, I need five seconds of video, and then I'd be really cool if you could, because you can do this and premier you can then say, well, I need a little bit more I need to move over my in and out point this way or this way a little bit, right? Like this is the duration of your whole clip, and you've only selected this much to show if you could just kind of slide it back and forth, but you can't write that's a premier thing, yes. The question can you got the region? Yes, you can absolutely cut out a region. So the easiest way to do that I think is to put the current time indicator where you want to make your cut and then click on the scissor icon right there now it's cut into two clips it also made two clips on the layers channel one yeah, so then you could you could say ok, well I don't want the second clip because I cut it so you just tap the delete key to throw it away and then if later you went oh, I need mohr of this clip again we can always stretch that out and it will move over the next clip. Okay, all right. How we doing online? How are online? Are they doing ok? They are doing great. Do we have any questions in the studio audience? And then we can just catch up with a a couple of yeah, you know, cindy asked and you I mentioned this earlier but maybe we do a quick reiterate wondering about the time that it takes to render the you know and bring in like hundreds of files in tow photo shopped for doing the time lapse and how powerful of machine would you recommend for daily use of working video in we want the most powerful machine always that we can afford it, but we know that be its theme what we can afford that is the difficult part yeah so yeah ram cpu speed fast drive all that stuff is going to help a time but the mercury graphics engine also really helps if you're going to do this as a like a job and you're gonna do this over and over and over again I would suggest that you probably at that point you're gonna want toe kind of graduate to premiere the other thing you khun dio so we can re signs are preview here right you can zoom in and out just like you can in photo shot if you go below five hundred forty pixels I don't know why five hundred forty pixels but if you do the preview will get faster and we have this little gear icon right here that will change the resolution of the preview so I can zoom back in oh I've got that little guy open we can zoom back in but I can say ok I want to see it this large but I actually only want to see fifty percent or twenty five percent of my resolution so that means as I tapped the play look at it looks a little bit more pixel e but it's going to be faster so you can always change the actual it's not changing the resolution of the file it's just the preview that it's showing us just one more question from alien skin tech you know, it isn't actually in aliens in representative here, let us know. Are you going? Are you going to go into applying filters? Todo okay? Yes, with a lot of the questions that we have right now, you're double answer. Okay, sorry. Put one in the studio here. Yeah. Was that a video or was that actually a hope into photos? He took these air. All actually videos? Yeah, yeah, we didn't. I did switch over to videos. This is yeah, like you had to take a lot. A lot of really quick, like I was taking pictures. What you like? Twenty five a second thirty a second. All right, so ok, so let's talk a little bit about faith because fades a really easy uh, there's one caveat with fades so let me just show you what that is we can fade fade in from fay just means fading from nothing so I could have a layer underneath this like a background layer because remember, the video wouldn't have to be full screen. I could do a picture in a picture I could have a smaller video we could have a texture, something like my logo out there outside of the video so fade just means fade up from whatever is on my background layer or whatever layers underneath my video group all right across fayed is between two video clips and weaken fade with black white or color so let's fade with black and let's just dragged that to the front of the video so now when I tap my space bar see how it just faded up from black right and I'm so I'm gonna put my resolution back up to fifty percent ok so we can fade in now watch what happens though let's go ahead and just soon in a bit here hey watch what happens when I add a cross fade right so you can see actually before I do that the duration the standard the default oration every time I drag a fate is going to be one second but you can change that right here but watch what happens when I go to the cross fade and I drag it on top of two video clips they have to get shorter they're not getting shorter but they have to overlap so that each duration of each video clip if this cliff is five seconds in this clip is five seconds they both stay five seconds but they have to overlap for one second so you had ten seconds worth of video now you have nine seconds worth of video because there's one second that overlaps all right and now when we go ahead and tapped the space bar there's our little fade in we don't really need that that long so let's let's, shorten that and you'll notice so you could see I shortened it and it still kept the cross fade. No problem. So then we'll play the video, and right there we see the nice cross fade. Now I want to change the duration of the cross fade. I can click and drag it, but I can also right mouse click and I can actually change the transition. So if I added the wrong transition, I could say, oh no, I really wanted that to fade with black or something and I can also change the duration and I can also throw it away so that's just a right mouse click if you don't have, uh, if you're on the mac and have a one button mouse, it is the control click. But if you have the mac and over one button mouse it's time it's time you should get a two bit males. All right, have it. Okay, um, so the one caveat to watch out for is later on. I'm going, tio convert one of these video clips to a smart object, and when I do that my fades will disappear. It takes them off. So don't spend a ton of time doing all your fades if you're going to convert your video layers to smart objects so let's go I'm going to go out and do it so I can show you later what happens that there's one cross fade there's another one probably don't need all that video the length of that video is probably too long groups just grab this one and make it shorter okay and we'll zoom in a little bit all right so so that's what the fades we showed them the muting what else do I want to show? Okay, so let's do an adjustment layer because what do we need? We definitely need an adjustment layer over this layer let's added curves adjustment layer so I want to make sure that I target the layer so that it selected this video clip and then when I add my adjustment layer in this case I'll come down to curves and all I want to do is I just want to kind of see into those shadows a little bit more so bring up the curve and then kind of flatten it out a little bit in the highlights and I might want to go into the red green or blue channel as well I want to bring that over a little bit so I'm doing not only am I changing the luminosity values I'm also doing a little bit of color correct ction so let's do that all right? So let's say that's that's what we like? Well, the nice thing that you might have noticed is the curve adjustment layer comes in and it's automatically clipped, so when you're working with video that's a little bit different of a default behavior usually about an adjustment layer, it affects everything that's underneath that layer when you're working with video because we think it's a little bit specialized, we thought, you know, most people when they add an adjustment layer, they really want to only adjust that video clip that they're working with, so we're going to clip it, we're going to make what's called the clipping group I know it's a clipping group because we've got this downward pointing arrow that points down to the layer below it that's the only layer in this case video clip layer that it's going to effect now if we wanted to add a an adjustment layer and we wanted to add that adjustment layer to all of the clips, we can do that, but probably what happens is you'll have like you'll have a layer that selected and what I want to do is, oh, you know what else I want to do before we do that this man's an adjustment? This needs a camera raw adjustment, but what do I have to do before I on my camera raw adjustment converted to a smart object right? Because if I just go to camera wrong remember the camera rosinha filter now in photo shop but we can't add the filters unless we prepare the smart object so we'll convert for smart objects no, no, no, no, no no none yet. Okay, that's great watch what happens here I click ok? It takes off the fade I warned you about that and it turns purple. Ok, so now we go and if we wanted to, we could add a fade now and in that fate would be permanent so we can go ahead and do our little cross fade right now and then we go to filter we could go to camera raw think we spent a lot of time this week in camera raw so I'm not going to spend that much time in it I'm just going to say yes I need my shadows to be brought up let's actually bring up the whole exposure of it. You can really start seeing the j peg artifact ing when you start doing this to video to make a really, really big adjustments because divorce each frame is compressed but let's just say that's what we want that's made are camera ross smart filter on our smart object, which is our video clip, but watch what happens when I tempt the space bar ah, I forgot to turn off the audio so I click on this icon here, right? This is what this is where we should motion wait, I thought that's how I controlled the duration and speed of the video and the audio no, not after you create a smart object. So just like you have learned earlier this week when you want to edit the content I gotta dig down into this video clip I've got to get into this smart object so the easiest way probably is just a double click on the thumbnail for the video clip that's been turned into a smart object look, it opened it up in its own window. Say I can go ahead and aiken tile these come on, man shifty. See, here is my video. If I click over here here's my multi layer document here, the contents of the smart object I know that also because it says psb and now look it it's not blue or purple anymore it's blue so blue tells make great I can use the flyout menu right here. Here are those video options here's my audio options we can mute that save that close it and now we still have our smart object here, but when I tap the space bar, we're not hearing that that music, so I also could have come and sorry it the music maybe the audio track I wouldn't really call that music didn't really sound very musical to me I could also turn it off right here if I wanted to but that's going to be it's going to be for the whole file yes so is it safe to say that by default photo shop brings in a camera document and labels it purple always and but if it's smart on this so if you were to bring in a document as a smart object so if I went just a za regular let's let's just do it real quick right? So I want to just select any other file let's do automated camera rock what do we have in here? Oh sure let's bring some blankets and so if I double click on that where does it go? It goes to raw I don't want to open the image I want to actually open a I'm not sure if I like that the fact that every like shortcut comes up because you could tell did you see right there like I don't really know what the shortcut is to change open image to open object so first I tried option and now it says open copy and then I tried command and it says open image and and I tried shifting is like yes open object I don't want you to people to see all of that should be like oh, I know that keyboard shortcut I know all three hundred sixteen keyboard shortcuts in foshan really get a life? No. Okay, all right, so open the object. So when I opened the object, what happens? It opens it in its own document, right? So we need to look at both of those grabbed the move tool drag and drop that on top. Okay? And we'll close that right? And what do we have if we come over here? Because I dragged and dropped it and I was where I was in the layer or sorry in the video group, it dropped it inside of the video group and so it's going to assume oh, well, you must want this to be, like video, so I'm goingto make it a default duration and I'll just put it at the end of the sequence because that's it the top of the layer stack all right? And yes, we can see it's purple. Okay, I'm going to delete that for now. And, uh, this layer right here. So this is a weird, obscure shortcut, but it's kind of a good one to know. So what I want to do now is I want to add an adjustment layer, but I want to add it over all of my clips okay, so I so there's there's a lot of things maybe want to make it black and white maybe we want to add one of our actually we'll add the color lookup table adjustment layer so if I add the color lookup table adjustment layer right now, what what's going to happen? Where is it going to go it's going to go right on top of this one and it's going to clip to it because that's the default behavior so I'm sure you wouldn't try this at home we're going to close the video group and we're gonna add an adjustment layer we're going to go here to our color look up and when the video group is closed it says, oh well you must not want to play with a video group anymore you want to add a new layer all added on top who knew I now alright that also works with regular groups so people are always saying I you know I drag and drop and I've got a layer group at the top and every time I drag and drop it drops it into the group and not on top of the group ah close the group it's better than having a preference then preferences I go in there like ten times a day we don't need that okay, so color look up what's a color look att well, first of all, we should notice that it's an adjustment layer and it actually re mapped your entire document two different colors. It's is easy as I can put it. Have you ever used radiant map, grady it map takes your image from black to white and re maps those using colors so it's kind of two dimensional if you use the color, look up it's actually like this three d color cube, that kareem app, all of your colors and it's used in video all the time, and that's why we happen to get this color lookup table when video happen to become more popular. The other thing is, because it's outside of the video group you'll notice, and immediately that down here it's actually added it as if it's another layer on top of the video group. So that's terrific. So it's it's not changing anything right now because I haven't assigned this color it's called a let it's a lookup table so I can select from any of these on the list. Some of them will actually be quite nice not that one let's try crisp winter. It looks a little too blue for me. I want to make sure that yeah, that is that I think we'll be able to see yes, that is not what we would consider settle all right, but we have a number of them tio to choose from here, and we can also go down here to the abstract or to the device. I think if we wanted for some reason, like a color negative or something, we could but let's, try let's. Try horror blue, or we could try. Wait, where was that futuristic, bleak that's kind of that's? Kind of my color palette. They're really de saturated, but look, when I go over all of my video clips, they all now have been re mapped using that color lookup table. So this is really nice when you're taking pictures on one day and another day and video from somewhere else and trying to bring them all together, if you think about it, when movies are made and stuff, they don't make them all in one day, so they have to bring in all of those files and somehow unite the color palette and the tonal look. And this is one of the ways that you can do that. So those were the color lookup tables. Okay, um, make sure we got everything there. Remove the fades. I already told you all that. Okay, we edited the contents of the smart object the icons there that I haven't covered, I don't believe there are all right, so what if what if we want to add some type or something to this let's? Go ahead and select all of our layers so I just selected him all in the layers panel and then if you just click anywhere in your timeline on one of these images, you'll notice that I could go ahead and drag this over. So I'm just making some room at the beginning here. Obviously, we could be we could be more precise. I could drag my current time indicators to a specific location. Aiken set that. Look, if we click right down here, we can move the current time indicator. We can use this tow, actually render video so there's a lot of icons right down here. How many frames per second? All right, so all of that is good information, but all I wanted to do was I just wanted to scoot this over, and if there was a certain location, I want to discuss it over to it's quite nice, because when they're all selected, these notice how it just snaps to that. All right, so that's that's fine. That far, if I wanted a different color as my background, all I would need to do is create a new layer. We could fill that with something oh, I have a keyboard shortcuts set up sorry, I just brought up the color picker because I'm sure there's there's functions that you use every day like you know, fifty times a day if there are and there's no you know there's no default keyboard shortcut you need to make it thank you for trying to help me with my words you can go ahead and make all these keyboard shortcuts so for example, if you go to the tools area here, you'll notice that almost all the way down at the bottom there's an option here to bring up your foreground color picker because, you know, usually I'm I'm not all the way down here in the lower left of my monitor in order to bring up the color picker I'm somewhere else so I just have the n cay the n cay will bring up the color picker okay? So ah so in brings up a color picker we pick a color let's pick something futuristic bluish and we just option delete will fill that with our foreground color and then we just bring that down underneath the video group and we scoot that over and we can just well go ahead and I want to make sure that I leave it long enough so this fade here the fate and will now fade in from blue but anyway I want to add some type so we tapped the tiki that gives me the type tool and we'll type in iceland and it's a little bit small so I've got my command key selected control on windows when I'm doing things that gives me this thehe bility to transform my type and if I hold down the shift key that's going to constrain the proportions of my type so I want to do that and that is beautiful type on type and so we can't see the type right? So that's ok command return will enter the type why not? Because we have blue type on blue, so look at that isn't that great, but the only thing harder to read them blue on black so what do you could do is you know that I want to point this out because this is quite helpful when doing a lot of things with type if you've got your type layer selected and you're working with type, you can go ahead and you can make changes I wonder why that's doing that? Where it's making it go to black what transition that I use right here? Yeah ok so sorry. The reason that it keeps flipping the black is because I actually said fade in with black if I just say fade now it's going to fade, see how it fades from blue there and I was wondering what that weird black was alright anyway, getting back teo teo iceland here I'm going to go ahead and tap the n cay that brings up my color picker and what should we just make it black click ok and then just type selected and my crazy optionally command elite okay, I'm crazy type oh ok so this is a perfect example if someone in the chat room is already pointed it out I'm sure why I can't see my type where is my type player it's underneath the video the movement over uh all right so now we have my types and like my made it black I don't know what's going on so there's the text all right now what I'd like to do is I'd like to kind of make this cool little mask that kind of moves along the text so that we can see it because we haven't talked oh that's what else? We didn't talk about key frames yet okay so I just want this nice little grady int to move across here and reveal the word iceland and in fact I actually want this to be white okay, so the text is white. I've got my type player I add my layer mask and I did that using a keyboard shortcut command m I just have it set up it's custom but we could click right here on a little layer mask icon I'm gonna tap the geeky that's going to give me the grady in tool and I'm gonna use my reflected grady int now if we think about this right now if I tap the deaky I get my default white to black colors so what I want is I just want a little strip of the word iceland to be visible as it moves along so right now if I drag out my grady in it's going to go from white to black and even though that looks like oh that's great that's exactly what I want because I wanted to reveal as I move this mask what happens is if I get my move tool and I another link the layer from the mass so that I can move the mask the problem is when I start moving the mask over we can see that because I went from white to black at the end of the mask it stops and it says well I'm I'm going to be as big as the layer mask is but I'm not going to go beyond so here's how you trick photoshopped cam going but I just went back in time so that my mask is now white okay we just make the opposite mask okay so I'm going to tap the ex key so that my background and foreground colors are swapped we'll go ahead and make this visible will use my grady in't tool with the reflected grady int it's going to go from black to white ok now it looks in the image area exactly opposite from what we want but let's, look at the masked by option are all clicking on the mess. What I've got is a mask from black toe white now. Well, white goes on forever, so if I invert the mask right now because white is going on forever, photo shop will make black go on forever at least that's what I'm hoping so command I then I used the move tool and sure enough, when I scoot this over, you can see no matter how far I screwed it, it will still have I think I'm having a little redraw issue, but you can see here that it's all black and we can bring that over there is the white bring it over here, there's the white okay, so let's see what we're doing here as we owe I'm sorry, I must have undone too much in history because what's happening is I I linked them back again so let's unlinked that they're right and let's move my mask. So I'm at the beginning of time in my time line and I'm going to move my layer mass it's over to the left here. All right? So we can we can hardly see it there's just a wee bit of it showing it doesn't have to be showing we could move it over further if you want to and in fact, if you want a preview this it could be really handy if you tap the back slash key. The backslash key gives you a preview of your mass so it's giving you a little ruby lif overlay there that's just, uh, pfieffer backs? No, I told you the wrong thing. Did I say be for backslash? Don't tap be tapped, the backslash key it's just that I can never remember which is okay, I can never remember it would be amusing if there was a camera overhead so you would see that I actually write all over the top of my laptop. So I've got ethnics to the forward slash and be next to the bank slash. I remember which one's, which so we screwed this over to the left. All right? So we can't see it where the beginning of time iceland any of these layers actually have these little triangles right here, and when you, when you click on them, their disclosure triangles, they disclose all of the different settings. So what I want to do is I want to keep track, I want to have photo shop, keep track of the layer mask position so I was ok pay attention to what I'm doing photo shop, I'm gonna click on the stopwatch, and that sets a key frame it says, ok, this is where it's like it's taken, almost like a little snapshot right here. I've got directions to put the layer mask, you know, on the left hand side, right where it is, then I go forward in time and probably I want it to be all the way to the right by about here. Ok, now I don't have to go in and add a key frame or anything. All I have to do is move the layer mask, and if I move the layer mask, it knows oh, you're in a different point in time. I'm going to now say by this time you need to move the layer mask across the image, so as we go back, you can see that it's doing all the in between ing. So now when I tap the space bar and we play the movie, it actually will bring that across all right, so pretty cool you can do that with anything that you can do that with an adjustment later, if you want it to fade something custom up you know you could use because look at this the color lookup table what if I don't want the color look up tabor table pretended it over everything I just won the color lookup table to fade in maybe on this clip, and then fade out again. What I could do is I could put my current time indicator at the beginning of the color look up clip and say, ok, at this point in time, I want to pay attention to the opacity of that layer, so I'm going to click the stopwatch and going to say I want the color lookup table to start at zero don't apply it don't apply the color lookup table at the beginning, then move forward in time and may be right about here. I wanted to be at one hundred percent, I wanted to fade in and then maybe we'll go a little bit further and I wanted to still be faded in one hundred percent so here because I'm not making a change, I actually need to add that key frame so I can do that by just clicking on this diamond right here that just added a key frame and then we move forward and say, ok, now, by the end of this point in time, I want tio decrease the opacity. So what I've done is I've said, ok, from here to here, you're going to start slowly applying that adjustment layer, keep the adjustment layer, keep the adjustment layer, keep the adjustment layer and now slowly decrease the opacity of that adjustment layer and hide it yes, usually when I'm in a dedicated video editor, I think of key frames is something I'm adding, you know, I'm using for movement kind of thing with text or something like that. The's look like kind of like lateral changes. Can I add some sort of motion path? No, no, no, no, no that's, your dedicated video editing, yes, so there's no, like when we there's no, like, bring a clip in, like nicely like, no, no, no, no, no, we have a product that doesn't it's awesome. So so let's say. I want tio, like in our in our last session with call, and he showed us, you know, photo shops great for I want to change the models, eyes to green, but let's say, I have a video clip and you know, I'm shooting a model, and I want to make her eyes green. Do I look to grocers, dr tio, expert, that frame by frame and then dude in photo showed no I would do that and after effects where is premier so they have really great tools for because because unless your models like this the whole time in her eyes are staying in the exact same spot I mean then if you have a video that only my mouth is talking but my eyes are in the exact same is but you know you could go in there with adjustment layers and there anyway and photoshopped that you want to convert the eyes from blue to green you could do that but if the person is doing this then that adjustment layer it's way too hard we have no tracking stuff in here at all no no no no and so because we don't want to think this is a great this is I think this is like a steppingstone but if you're already in a dedicated video editing program like premier after effects they're really good at what they do and is this going when you're bringing in the video just theoretically is this going to turn it into frame by frame likas are these you can you can go in and you can turn on onion skin and do that but I'm that might be a little bit more than the scope of this ninety minutes just hearing okay that's okay okay so that's your basic um way to add your key frames here but you know there's no nice motion path that would be nice, but that is premier that is aftereffects. I'm not honestly sure, like there's there's a lot of other things that I want in photoshopped that have more to do with, um, images and still images, so I'm a little hesitant to say, yeah, bring all that stuff, and I want it all because in the program gets so big, so kind of ok with allowing me to do what it does, but then I think people can graduate pretty quickly to go to premiere, okay, so I think that's everything the great eight minutes, the adding type, the reflected oh, we haven't saved it or anything, right? So we save the file probably should've saved it earlier. Um, I'll just do this as a ceo and video, okay? And we'll do that to the desktop and I'll hit save again if we go and look at the size of this it's relatively small, what will make it large is, of course, the video clips that we converted to smart objects because they we've got those embedded previews in there, but otherwise the video clips are still referenced files. This is just gonna be a pointer, kind of like if you can think of it like a project fire liken indesign filer premier project, so now if we go back oh, sorry. So now we need to export, right? So how do we render it? We go here to file and then we go to export and then we go to render video and again, we have all of these different options. We have our presets and everything. So some folks do come in here and do rotoscoping and finish up so they will go into every single frame and I can turn this from a video into a frame animation in the timeline so you can go in here and you can manipulate every single image individually and then you could just out put it here instead of going tio form at age two, six four we could either do well, let's. See, I want an image sequence. I want an image sequence, maybe that's just, uh you know there's a way to do it. Wait, wait, wait for it. There it is photoshopped image sequence. So what format do you want? You can select from these and then go ahead and export your sequence and then take that into something like after effects or in tow premiere. We wanted to more yes question instead of gradient can we put lighting the facts from filter like the lighting effects like spot and only yes, so the question is, can you use a different filter like lighting effects? You would apply it just like we did the camera wrong filter or like a like any other like the till shift filter but what you can't do is like get into that filter and move it over time because that's I think really what you want aftereffects s o c but I'm getting you all interested aren't I will now want to do war this is the baby gateway that I'm taking you through right now ok, I really love the whole masking that's what I'm so video I'm not good at telling the story and video so what I want to do is I want to do one quick masking thing and then I want to go into premier if we can if we just have like five minutes to go into premiere so here is is my video and let's just bring that into photoshopped so this is just a waterfall I'm gonna go ahead and just silence my computer so we don't need the audio here so this is what I mean like I'm my stuff is not that interesting as faras inspires video goes this was almost interesting though watch what happens at the very end it's almost going go on go on one more stop step no he didn't so it was very boring video so it he made one more step it might have been more exciting for us not for him, okay so there's the video so what do I want to do with this? I know I'm terrible. No, I'm not no would have made it more interesting. All right, so I want to ask this right? So what I want is I want to control the waterfall. You know how if you go online sometimes you see the sina graphs where most of the images still on and just like the woman's hair is moving and are just one little wheel is spinning around it's super easy to do here. Okay, so what we can do is go back to the beginning of time. What I'm gonna do is I'm going to make a still image and just put this right on top, so I'm in my video room I select all I do a copy emerged closed the group remember? Because if I close the group well, if I don't close the group and I paced this, it paste it at the end of the sequence and I don't want it there, so I'll undo that I'm gonna close the video group and then hit paste command v that pace it right on tom this is my still image, so we call it still right now we make the still image the same duration the same length as the video and now when we tap space bar, nothing moves because this still image is sitting right on top of the waterfall, so now we just need to add a map so can add our layer mass to are still image grabber. Paintbrushes tapped the bee key we've got a soft edge brush set to normal mode if I just paint right in here and if we want to see that mask again it's the backslash key so that's the mass that I just painted now when I tap the space bar, I'm restricting the motion. I've cut a hole in my still image to see the video underneath it wait, but wait there's more okay, remember we can make those masks move right, so I'm just going to leave everything that's on the mask and I grabbed my great aunt tool really click and drag out so what I just did so I just made this mask here, right? So we use the move tool and we unlinked the layer from the mask. We go back to the beginning of time and we scared this over, so now we're at the beginning of time we decide on the still image we need to keep track of the layer mass position we screwed it over to the right groups now we know why can't we do enzi, thank goodness frenzy frenzy for undue command z command said control said all right, so I forgot to move my time insertion point so it's starting at the right place the mask is on the left hand side and what I want is over time I want that mask to move to the right so that it looks like the waterfall is thawing and then freezing again. So I've got my key frame. My mask is in the correct position. I use the current time indicator moved the end take my mask with my move tool and scoot over to the end. Come back to the beginning so we can see how the mask is traveling in between. Tap the backslash to hide the mask and then just tap the space bar and they will start moving across very cool on of course I could make them ask so that, um the water keeps plane like behind as well or the water keeps going in front or you know the mass can be whatever you want them ask to be ok, so let me just do this because I think it's like it's unfair to just say that you know you need to do everything in photo shop now that it has video it's really not choose so let's say you had a you had one hundred images or let's let's, take this example in my room so I'm in light room and I want to make a slide show so I have all of my different images here I've made a collection of images and I really like dipped ix I love putting two images together it's just something that's kind of fun for me to do it it's always interesting I think to images together kind of make a third image and that third image can have different meanings than each image individually anyway yeah so I put the images together I digress you know so I put the images together and I want to I want them is dipped ix I want a single photo shopped file but again I'm totally lazy so I'm not going to go in a photo shop and and make inaction and everything will make lots of actions tomorrow is our last one of the last uh, sessions here but for now what I'm gonna do is I'm just going to make use of light rooms print module because I know the size that I wantto export these files you're thinking well you don't want to print on you want to export him yeah but look in the print module down here you can print to a printer or you can print too a j peg file so I switch this to a j peg file and I set this up and I've already set it up here so I'll just come appear to my my template here what I want is I want a document that is nineteen twenty by ten eighty that's the ten adp right um now I've put him his inches because that's what it asks for it won't take this unless you put the decimal so it's nineteen point two o inches by ten point eight au inches but it's one hundred pixels print so you just multiply those and you get the total number of pixels that you need I'm going to a select all and actually we want the square template so it just puts two images next to each other and then you can move through all of these images right? And you do that just using like the layout here you can say what kind of page grid and how much so spacing and everything you want between them but then as soon as you're done with this you just say print to file and it will print all forty four pages here to individual jpeg files all right, so now I've got my dipstick so that means I don't have to worry like if I go into premiere I don't have to put one image here in one image here and switch out those images they're set to go because only one all I want all I want is a simple slide show will then use light room ah but I want my slideshow I want my images on the downbeat like I want to match that up so again control freak I know it all depends on how much time you have and how much here you know charging your client but this was for me I it's important to me alright, so I've already done this so we don't have to sit here and do that so if we look here here are all the dipstick files here that I've got okay and they're numbered sequentially although that doesn't really matter okay, so I'm gonna launch premiere so this is premiere pro sisi because why when I struggle and beat myself up doing something like this in photo shop when I can do it really quickly in premiere so what I'm gonna do is I'm gonna create a new project and this is where most people who have never used premiere before they get scared and I just go uh uh I don't know I don't know don't worry about it don't worry about it deep breath you're good ok, we're going to name it c l uh we'll do a slide show demo okay where we going to save it let's just go save it on the desktop we could make a new folder yeah that's my folder we hit choose okay there it is and then we hit ok we don't even look at that you don't even changing just don't they don't even exist okay you can study those later when you have extra free time all right so I know it looks different it's got a lot of panels ok, but all we're going to dio all I need is I need some audio I need toe put little markers down where the downbeat sar and then I need to bring in my images and say make it happen and render the video all I want to dio okay so I just ignore everything else that's going on here and I say come over here and by default when you first open this look it says import media to start brilliant double clicking their fantastic I need some audio where's my audio that's a good question I hope this is my audio did I put it with that? No. Probably not so organized I can't even remember where things are uh yeah right so this is my project this is this is where all that this is all the stuff then I'm going to use in my my new movie so I just need to drag this drag this over here this is my timeline just like we just saw her timeline and I tapped the space bar. Well, I have my audio off sorry okay, this is where it gets really embarrassing, but what I'm gonna do is I'm gonna listen the audio and I'm supposed to be able tio tap because I played the drums when I was a kid this is why I don't play the drums now and I have a different job but suppose to be able to tap the m key every time there's a downbeat so we're going to try our hardest do not make me laugh for anything I will never get this done so I tapped the space born and I'm gonna tap the m key every time I want downbeat I'm just gonna tap the m ke whenever I feel like it oh there's a good place for an image oh that would be gorgeous oh that's fantastic oh let's add to their quickly okay what am I doing? I'm tapping the m key every time I tap it maybe next time I'll gets more exciting music to so that everyone is not going to sleep as I play my music all right so what if I got look at these air my little unnumbered markers right? We should probably moves them around and we come over here and I'll just there's one and look there's one oh she's so good she could do it without the music plane oh that's so awesome ok, so I've got all these unnumbered markers there we go and ok fantastic so I put my current time indicators same thing we just saw in photoshopped pay at the beginning of my timeline we have no images yet so let's, just go to the desktop because it's probably easier to go to dip ticks and just dragged those in. So it's going tio, grab all of those images there they all are there, it's in my project. So we just select all of those images and we say, premier, you're really good at automating things. So could you automate to sequence all of the images that I have selected and can you put it has put them at my unnumbered markers? So then you click ok? And now each one of these little pink these air my little images, so it'll give me a preview right up here, which I'm not quite in the right. There we go, I say so every time just ignore the music, but every time you can see it's gonna change the music every time I had the little it goes to the next. But okay, but hear is there anything about premiere? Because I have to say that, you know, I really like knowing everything about photo shop. I do not know everything about premiere, but what I do know is you don't have to know everything about premiere. I have to know that as you go to file and we goto export and then we can export our media and that's, how you're going to choose all of your different settings here? So I go to h two, six, four and then look at all the different presets they have for all these different options. So all of that can be set up for you, and then you can just cue this or you can go ahead and uses adobe media encoder this same kind of media in quarter that same technology that we were looking at inside of photo shop final words of wisdom is just that I think that photo shop is a great place to start with with working with images like time lapse that you want to turn into videos and also doing simple edits and doing simple color corrections. If you already know if your photographer you already know photoshopped it's really convenient to able to bring your clips in the photo shop, add your adjustment layers, do what you already know, add some type and some audio, make a movie and then be able to use all of our presets and just export those to the web can be it can be extremely valuable, but if you want things like motion paths in an advanced everything, I mean premiere and after effects are really quite amazing.

Class Description

The capabilities of Adobe® Photoshop® go beyond just the normal image and graphic creation and editing: With this course, learn the additional capabilities that Photoshop® can offer for editing and processing your videos. Expert Julieanne Kost will guide you step by step into the capabilities of this amazing program and all it has to offer for working with your video files. 

Software Used: Adobe Photoshop CC 14.2


dennis hartman

The teacher fills in some important gaps that you will need to know to continue to prefect this very useful tool. Great stuff.