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LR/PS - Making a Movie in Photoshop Extended (Part 1)

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[♪music♪] [Adobe TV Presents] The Complete Picture by Julieanne Kost] Hi, and welcome the this episode of the Complete Picture. Today we're going to be preparing some images to take into Photoshop in order to make a movie using Photoshop CS4 Extended. So I'll begin here in Lightroom, and what I have here is a sequence of images. Basically, I just set up the camera on a tripod, and I have an intervalometer and I just asked it or programmed it to take a picture every some number of seconds. So if we move through these images, you can see, just using my right arrow key, that in each image a little bit is changing. Obviously, the buildings aren't, but all the boats in the Hong Kong harbor are. So what I would like to do is, I would like to make some adjustments to these images. and then. obviously, I don't want to make an adjustment to every single image, so I'll make an adjustment to one using Lightroom and then apply those adjustments across the all of the rest of the images. So let's begin with the first image, here. I'm going to pop over into the develop module. Now, ultimately, in Photoshop when I make this time-lapse animation, what I want to do is I actually get kind of a selective focus so that these images look like they are models that are really small in the harbor. There's a number of ways you can do that. I guess the most common way to do it would be to add selective focus and also highly saturate the original images. You want to add contrast to them in saturation because if you think about it, if we were actually photographing models they would be very small, which is great because we have this nice vantage point of up high looking down into the harbor, and then it would also be painted so they would probably be not quite as realistic as real life. They would be more saturated, and you would be able to tell they're models. That's the typical thing you would do, but I want to actually do something a little bit different. First of all, I'm going to crop my image because I just think it's too big. There's too much going on, so I'm going to tap the R key. The R key in Lightroom, of course, gives me the crop tool. And I know this isn't a typical video aspect ratio, but I'm simply going to crop this to be square, right? Because there's nothing that says it absolutely has to fit in a certain layout. So, I'm just going to reposition the crop right about here. Yep, I like that. I want to make sure that I include the building here, and then I'll tap the enter or the return key in order to apply that crop. Now, I probably also want to make some other changes, so let's take a look at my basic panel. I might want to increase the exposure just a little bit because I'm also going to increase the blacks. You can see my histogram there. I didn't have any information down there in my shadows, so I'm definitely going to increase the blacks, and that's going to help, also, to kind of pop the image and give it more contrast. I can also move down and give it more contrast if I want to. Again, this would be kind of more along the lines of what I would do if I wanted this to look like a model and wanted to saturate those colors and increase that saturation and contrast. But in this case, I'm actually going to take the image to gray-scale, so I'm going to tap the V key. V as in Vlack and Vhite, we say. So that will be our gray-scale image. Now what I want to do is I want to add some little overlays. You'll notice when I did take it to black and white it got a little bit too dark, so let's just back off a wee bit on the blacks there and maybe even a wee bit on the brightness, as well. Okay, so adding our overlays, I'm going to click right here on the graduated filter, and the first one that I'm going to add is actually going to be a color overlay. So I'll go ahead and select the color swatch here. Just clicking on it, then you can see I can just reposition to add any color overlay I want. And what I would like is kind of an aqua color, so maybe somewhere around-- I don't know--let's try it there, because remember, because this is nondestructive, I can always come back and edit that. So I'll go ahead and click down here at the bottom of my image. I'm not going to click straight up into my image because what that does is basically it just draws your eyes straight from the bottom into the top. I'm actually going to drag it at a little bit of an angle because I also know that later on in Photoshop, I'm going to be blurring this lower area down here, as well as these buildings back here in the background. So it did add my color overlay, but unfortunately it also added-- I didn't notice that my exposure was set to negative. So what I'm going to do is just double-click on the word exposure so that now my exposure isn't changing, just the color is. And I can tell that it is actually quite heavy, so let's go ahead and click that blue swatch again. What I'd like to do is really decrease the percentage here. I can either do that by dragging, or I can go ahead and use my saturation slider right down here. So, I don't know, maybe around 20 or 25 percent. That's looking better. Let's just scoot that over a little bit to the right. I kind of want it a little bit more getting out of the aqua and more into the sky blue. Okay, great. So I like that. Obviously, I can rotate it, the graduated filter, by clicking and dragging on this middle line right here. I could change the location of it or increase the gradient of the graduated filter by clicking on one of the in-line, or I can click on the point here and actually move it into my image. But I'm going to leave it maybe right about there for now. The great thing, of course, is that I can always return to this later because it's a nondestructive edit. All right, now I want to add my second gradient, so let's click the new button right here. And I'm going to double-click exposure to get rid of any change of exposure. And let's go ahead and just drag it. I'm going to drag from the upper left down into the image, but this time, obviously, I don't want it the same color, so we'll click on the color swatch. And I'd rather have kind of a yellow color here, so let's go ahead and move this over maybe right about there. That's looking pretty good. Then I'll just reposition that. I want that to come down further into my image. I don't want it to be quite as much of an angle. Okay, excellent. So let's go ahead and get off that tool, and let's see how that looks. So that's looking fairly decent to me. I also do want to add a vignette, though. So we'll scroll down here in my panel, and let's just add a post-crop vignette. There we go. Great. All right. So let's say that I made all the changes that I wanted to make. Now what do I do to apply these changes to all the rest of the images? Because, look at this, I've got a ton of images down here in my film strip. So the easiest thing to do is simply select all of those images, and then come over here and click on the sync button. I want to go ahead and synchronize everything because I don't need to go in an turn certain ones on and off. What I did to the first one I want to apply to all the rest of them. So we'll just click synchronize, and that's synchronizing those settings. So whatever I apply to the first one, you can see is now being applied to all of the rest of the images. Perfect. That's exactly what I want. Now that they're prepared as far as the color and tonality goes, I now need to export these images so that Photoshop can use them--can pick them up and use them as a sequence. The key here is that when you export, you've got to export these as a sequence, a numeric sequence, like 01, 02, 03. Obviously, because I have over a hundred of these, I'm going to need to make it a 3-digit sequence. So let's go ahead and click on the export button. All of my images were selected, and I know that because, well, I just synchronized them and also it says up here, "Exported 157 images." And let's go ahead and export these to a specific folder. We'll go ahead and go to the desktop and we'll make a new folder and this will be called export. And inside of there, when I click choose, I will put these exported images in the subfolder called Hong Kong. I don't really need to add them back to the catalog because I'm not going to do anything with them again in Lightroom. I'm kind of moving forward from Lightroom to Photoshop, and then I'll export my movie from there. As far as file naming goes, I have a custom sequence here, and what I've done is basically I went into edit and I just added custom text and then an underscore and then a sequence. So that's all I'm doing here, and I'm going to put in as my custom text Hong Kong. It's up to you whether or not you want to put a space in between those. A lot of people put an underscore; whatever you feel comfortable with. I'm going to go ahead and just put them next to each other then I'll put an underscore and that will go ahead and put the underscore between the numeric value in the sequence. All right. Up to you whether or not you want to export these as JPEG files or as Photoshop files or as TIFF files. In this case, I'm going to export them as PSD files. There's a reason for that, but we'll get into that when we go over to Photoshop. If you want to, you can export them as JPEG files. I just don't want to recompress them . I don't need them as 16-bit, so 8-bit is going to be just fine. I'll go ahead and resize these to fit. In this case, I cropped them square anyway, so it doesn't matter. So it will be short edge or long edge will be 500 pixels. I'm going to sharpen them from the screen, and afterwards I'm not going to do anything. So, let's go ahead and export these images. All right. Now that they've exported, I'm going to move over to Photoshop. And here is the key to this, because I know what's going to happen. You're going to want to open these using Bridge or something, but don't do it. You have to use Photoshop's file menu, and you have to select file open because we need this open dialog box. Let's go ahead and move to the desktop to export. There's my folder filled with all of my Photoshop documents. You can see they are numerically sequenced. They have to be. There can't be any gaps in those sequences or this won't work. And look what happens when I select the first one. Down here in the lower left, see where it says image sequence? You need to check that on. But don't be fooled. If you try to select all of your images over here, image sequence goes away. So just select the first image in your sequence, click on image sequence, and then choose open. Photoshop is going to ask you for a frame rate. In this case, I don't want 30 frames per second because I that's going to go so fast and it's going to make the image look so jerky that I'm going to decrease this down to six. So I just type that in because you can't actually select that from the list here, so just type in whatever frame rate you want and then click okay. And what happens? Photoshop recognizes that time lapse as a sequence. That sequential file format gave it that hint that it needed, and it's created a movie layer in the layers panel. Now, this is Photoshop CS4 extended. You need to have extended in order to make this work. And you can see down here I've got my timeline showing, which I did by just selecting the animation panel underneath the window. And if I click on the play button, we can see this animation or this time lapse play. So that is how easy it is to create a movie from a time lapse sequence, making all the adjustments that you want to. Oh, we can see here that it's at night. Hmm, it seems a little bit dark. I wonder if there's a way we can fix that? Well, in fact, there is a way that we can fix that, and we will be doing that in the next episode. So, thank you very much for joining me. I hope you'll join me next time when we fix and we make different changes to different areas of this image and also add this lens blur, which will make it look like a little miniaturized movie that was shot with a tilt-shift lens. So until then, enjoy, and I hope you'll join me again next time on The Complete Picture. [♪music♪] [Executive Producer, Bob Denton; Producer, Karl Miller] [Director, Kush Amerasinghe; Post-Production, Jake Wiens] [Adobe TV Productions]

Video Details

Duration: 12 minutes and 10 seconds
Country:
Language: English
License: All rights reserved
Genre: None
Views: 76
Posted by: adobetv on Oct 7, 2010

In this episode of The Complete Picture, Julieanne Kost shows you how to create a video file using an image sequence in Adobe CS4 Photoshop Extended.

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