Tài iệu Photoshop cs5 by Dayley part 119 pdf

Part VIII: Working with Video and Animation 870 Note When you create a Smart Object from a video layer, the Smart Object doesn’t have an Altered Video property. As I show you later in this chapter, the Altered Video property allows you to make changes to your video on a frame-by-frame basis. To change the video frame by frame, you need to open the Smart Object and change the video layer in the embedded file. n Applying Smart Filters to Video Files You can add filters to a file in two ways: add them directly to a regular file or change the file into a Smart Object and add Smart Filters. This has special implications for a video file, because adding a Filter directly to it changes only one frame of video, causing your filter to blip in and out of existence too fast for the eye to see. To avoid having to add a filter one frame at a time, you need to change your video file into a Smart Object. When you change a layer into a Smart Object, the thumbnail in the Layers panel changes to show that the layer is treated differently. After you’ve converted a video layer to a Smart Object, you can see a difference in the Animation (Timeline) panel as well. Figure 27.8 shows the Animation (Timeline) panel after the video layer has been changed to a Smart Object. There is no Altered Video property for a Smart Object. Now this layer is just like an image or 3D layer; any changes made to it affect the entire layer. FIGURE 27.8 There is no Altered Video property in a Smart Object, even if it was once a video layer. Adding a Smart Filter to a Smart Object that is an embedded video file is no different than adding a Smart Filter to any other Smart Object. Choose a filter from the Filter menu, change the settings if necessary, and add it to your file. You can use corrective filters, such as the sharpening or blurring filters, or you can create artistic effects by applying the more interesting filters. When a filter is added to a video file that has been turned into a Smart Object, it affects the entire layer, and the filter is applied as a sublayer in the Layers panel, as shown in Figure 27.9. Now, as you play back your video, you see the filter’s effects all the way through. 38_584743-ch27.indd 87038_584743-ch27.indd 870 5/3/10 10:50 AM5/3/10 10:50 AM Chapter 27: Correcting Video Files and Adding Artistic Effects 871 FIGURE 27.9 A Smart Filter is applied to the entire layer. After you’ve converted a video layer to a Smart Object, you can use the embedded video file to make changes to the Altered Video property. You can do this by double-clicking the Smart Object layer thumbnail. Photoshop opens the original document containing your video layer, as shown in Figure 27.10. When you finish making changes to the original file, save it and the changes are reflected in the new file containing the Smart Object. Turning your file into a Smart Object adds a few steps to the editing process, but if you want to apply a filter across the entire video layer, it’s the only way to go. FIGURE 27.10 Double-clicking the thumbnail of a Smart Object gives me two files to work with: one with a video layer that can be changed frame by frame and the Smart Object file. 38_584743-ch27.indd 87138_584743-ch27.indd 871 5/3/10 10:50 AM5/3/10 10:50 AM Part VIII: Working with Video and Animation 872 In essence, having the option to turn a video layer into a Smart Object gives you full editing capability. You can apply a filter frame by frame or you can apply the filter to the entire video clip. The method you use depends on the effect you are trying to create, of course. Using a filter to correct a video layer usually incorporates the entire file. If you are creating special effects, however, you may want to change your filter frame by frame or add it to a small segment of your video. Cross-Ref The filters, including Smart Objects and Smart Filters, are covered thoroughly in Chapter 13. n Cloning and Healing Over an Entire Video Layer As a general rule, cloning and healing in video layers is done on a frame-by-frame basis, simply because the nature of a video is movement, and movement makes cloning or healing a specific area difficult to do and still achieve desirable results. There are instances, however, where you may be able to create a fix that lasts at least several frames, saving you from the tedious process of cloning frames one at a time. In order to do this, the video must be stable, probably taken with the camera on a tripod, and the object or flaw that you want to remove must be stationary over several frames. The 3D video pictured in Figure 27.11 is a perfect example. The fern in the background is stationary through several frames. By creating a new blank layer over the video file and sampling all layers, I can create one clone fix that takes the fern out over several frames, as shown in Figure 27.12. The fix works until the shadow of the ball intersects with the cloned area, as shown in Figure 27.13. At this point, I end the duration of the clone layer and use the Altered Video property to clone each frame separately, as demonstrated later in this chapter. On the Web Site You can try this clone fix by downloading Figure 27.11 from the Web site. n 38_584743-ch27.indd 87238_584743-ch27.indd 872 5/3/10 10:50 AM5/3/10 10:50 AM Chapter 27: Correcting Video Files and Adding Artistic Effects 873 FIGURE 27.11 This video is stable and the fern is stationary, so I can clone it out of several frames with just one fix. FIGURE 27.12 A blank layer placed over my video layer contains the fix, so the default duration lasts the entire video. 38_584743-ch27.indd 87338_584743-ch27.indd 873 5/3/10 10:50 AM5/3/10 10:50 AM Part VIII: Working with Video and Animation 874 FIGURE 27.13 The clone no longer works at this point in the video, so I change the duration of the clone layer and make frame-by-frame fixes. Cross-Ref You can learn all about the cloning and healing tools and how to use them in Chapter 15. You also find this video file used in another cloning example in that chapter. n Note Cloning or healing to a blank layer is a must if you want your fix to last more than one frame, because creating a cloning or healing fix to a video layer creates an altered frame in the Altered Video property and conse- quently changes only the frame you have currently selected. n Frame-by-Frame Correction and Artistic Effects I introduced you to the basics of Rotoscoping in Chapter 26, and now I show you how you can use the Rotoscoping techniques to apply corrections to your video on a frame-by-frame basis. There are several reasons to make these changes frame by frame; one of the more obvious reasons is using the cloning and healing tools to remove unwanted elements. Other changes that can only be animated frame by frame are transformations. You also can animate adjustments and filters by changing them frame to frame. In Figure 27.14, I animated a color adjustment over a still photo to give it more life. 38_584743-ch27.indd 87438_584743-ch27.indd 874 5/3/10 10:50 AM5/3/10 10:50 AM Chapter 27: Correcting Video Files and Adding Artistic Effects 875 Tip To animate an adjustment on a still image, you need to copy and paste the pixels into a video layer with an Altered Video property. n FIGURE 27.14 To animate a color change, you need to apply the Color Balance adjustment frame by frame. Note If you find yourself in a situation where you are performing the same tasks over and over to achieve similar results—and you usually will when you start animating frame by frame—it’s time to create an Action. An Action fully automates the process. For example, you can animate a color change by creating an Action that works at any time on any video file just by clicking the Action button. You also can create a color change sequence that prompts the user for input when the color balance dialog box is used, so that the animation has custom settings every time the Action is used. You can learn to create timesaving Actions in Chapter 5. n Adding an adjustment to a single frame Throughout this book whenever I’ve talked about adding adjustments to a file, I’ve shown you how to create an Adjustment layer using either the Layers panel icon or the Adjustment panel. The versatility of having adjustments that can be moved and edited has greatly outweighed the hassle of adding one more layer to the Layers panel. If you want to add adjustments to a video frame by frame, however, that all changes. You can create an Adjustment layer that affects only one frame of video, but you need to reduce its duration in the Timeline to one frame, and then create a new Adjustment layer for the next frame. You can see that unless you are planning to change only a handful of frames, less than a blink of an eye in a standard video file, creating a new Adjustment layer for each frame of video quickly becomes unwieldy. So, for the first time in this book, I am going to suggest you use the Image ➪ Adjustments menu to apply the adjustments directly to a video layer, creating an adjusted frame in the Altered Video property of that layer. Although the adjustments made in the Altered Video property are hard to change if needed, this is ultimately the better option. 38_584743-ch27.indd 87538_584743-ch27.indd 875 5/3/10 10:50 AM5/3/10 10:50 AM Part VIII: Working with Video and Animation 876 With the video layer selected, choose Image ➪ Adjustments and select the adjustment you want to apply. The adjustment is added to the currently selected frame. You can then move to the next frame of video and add a new adjustment. Most of the adjustments have hotkeys, and an Action would be very useful if you are planning to make extensive adjustment changes. Adding a filter to a single frame The filters are simpler to add to a single frame of video than an adjustment. As I mentioned earlier in this chapter, you can’t add a filter to an entire video file unless it is a Smart Object. Simply add- ing any filter to a video file creates a new segment in the Altered Video property. There are several reasons for adding a filter frame by frame. You can animate it by applying or reducing the filter effects over time, or you may want to apply a mask so the filter is applied only to selected areas of a video file. As the video changes, the mask needs to change as well, requiring individualized frame work. Cloning and healing video files Most of the cloning and healing you do to a video file needs to be done frame by frame. The ability to use alternate clone sources is vital because you can clone one frame into another. For example, Figure 27.15 shows an image of a happy couple on their wedding day. They are preparing for a romantic kiss. The video effect is in slow motion, there’s a great love song playing in the background, and love is in the air. Jump ahead several frames to Figure 27.16. The kiss is still very romantic, the music is still playing, but some unromantic company has joined the shot. FIGURE 27.15 This shot of the happy couple is unmarred. 38_584743-ch27.indd 87638_584743-ch27.indd 876 5/3/10 10:50 AM5/3/10 10:50 AM Chapter 27: Correcting Video Files and Adding Artistic Effects 877 FIGURE 27.16 Unexpected company distracts from the mood of the video. To fix this problem, activate the Clone Stamp tool and open the Clone Source panel. Rewind to the first frame, and Alt-click or Option-click to use it as a source. Using the overlay, place it over each of the next few frames to clone out the company with a few quick swipes of the mouse. Although the couple is moving, it’s easy to use the architecture of the building as well as the light in the flower bed to line up the overlay exactly, as shown in Figure 27.17. After the overlay is lined up, I can simply click and drag the Clone Stamp tool over the areas I want to hide, and the illusion is perfect, as shown in Figure 27.18. Of course, you can see in Figure 27.19 that only one frame of my video has been changed so far. I’m in for a long frame-by-frame fix. Using the Clone Stamp is so much fun that it might even be enjoyable. To really utilize the five clone sources available to you in the Clone Source panel, you probably want to choose five different frames to clone so that as the camera moves even a minis- cule amount, you have a clone source that easily matches the angle and size. 38_584743-ch27.indd 87738_584743-ch27.indd 877 5/3/10 10:50 AM5/3/10 10:50 AM Part VIII: Working with Video and Animation 878 FIGURE 27.17 Lining up the clone source is easy using stable objects in the video. FIGURE 27.18 Cloning out the extras restored the romance. 38_584743-ch27.indd 87838_584743-ch27.indd 878 5/3/10 10:50 AM5/3/10 10:50 AM Chapter 27: Correcting Video Files and Adding Artistic Effects 879 FIGURE 27.19 The Clone Stamp tool changes a video layer frame by frame. Locking the source frame As you use the Cloning tool to change a video file frame by frame, one option in the Clone Source panel is going to be critical to your success. When you choose a clone source from a video file, you have the option to lock the source to the frame that you originally sampled or to move the source the same number of frames you move from the first target in the Timeline. In other words, after fixing the frame in Figure 27.19, I plan to move onto the next frame of video to fix that frame as well. If the Lock Frame box is checked in the Clone Source panel, as shown in the first panel in Figure 27.20, the clone source remains the same frame that I used to change the previous frame of video. In this case, frame 837 continues to be my source. If the Lock Frame box is not checked, the clone source moves ahead one frame in my video. The second Clone Source panel in Figure 27.20 shows that the frame offset remains −3 frames, no matter what frame I target. FIGURE 27.20 Lock the target frame if you want it to be consistent throughout your edits with the Cloning tool. If your video is fairly stable, you may find that it’s easier to use a locked source that you know is clear and free of defects. If your video is unsteady, it might be easier to use a frame offset that is only one or two frames away from the frame you are changing. In most cases, this helps to keep the source and sample frames fairly similar. 38_584743-ch27.indd 87938_584743-ch27.indd 879 5/3/10 10:50 AM5/3/10 10:50 AM [...].. .Part VIII: Working with Video and Animation Summary In this chapter, you learned that applying fixes to a video file can be a tricky process involving both the Layers panel and the Animation (Timeline) panel Mastering the properties of each one has given you the capability to make corrections to your video as a whole or to make them frame by frame You learned how to do . Altered Video property allows you to make changes to your video on a frame -by- frame basis. To change the video frame by frame, you need to open the Smart Object and change the video layer in. file to make changes to the Altered Video property. You can do this by double-clicking the Smart Object layer thumbnail. Photoshop opens the original document containing your video layer, as. video layer that can be changed frame by frame and the Smart Object file. 38_584743-ch27.indd 87138_584743-ch27.indd 871 5/3/10 10:50 AM5/3/10 10:50 AM Part VIII: Working with Video and Animation 872 In