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[♪music♪] [Adobe TV Presents] [The Complete Picture by Julieanne Kost] Hi, and welcome. My name is Julieanne Kost. In today's episode of The Complete Picture, we're going to continue making our movie from our time-lapse still images in Photoshop. So, I thought I'd start off--we've got our imported sequence, and we've played through it by just tapping either the space bar or clicking on the play button here in order to see the image. Now what if I wanted to apply some effects over time? Because that's one of the beautiful things in Photoshop; with the animation timeline you can decide when you want to show or hide effects. So it's kind of like masking, but over time. Now if you wanted to add something like a filter, in this case, if I wanted to blur a portion of the image, but not the whole thing, what I need to do is I need to turn my movie layer into a smart object. Because, otherwise, if you just add a filter it would just add a filter to the first image in the sequence, and it's just not what you want. So what you do, typically, is you would turn this layer into a smart object. And you can do that by just holding down the command key or the control key and converting it to a smart object, or you can use the menu. We can go here underneath the layer menu and then choose smart objects and convert to smart object. That makes the movie file a smart object, and then you can add a filter. So, for example, if you were going to add a Gaussian blur to your whole image, you can do that and then you'll notice as you play through the movie the entire movie is blurred. Of course, because this is a smart filter, we can go ahead and use the mask associated with the smart filter in order to selectively blur or sharpen areas. But, for this technique that is not good enough. What I want to do is I actually want to add a lens blur to each one of the individual frames. Now, how would I go about doing that? Well, I could do it manually, but it would take me forever, so I'm going to do it using actions and batch processing. All right. What do we need to do? We need to close this image, and we just need to open up the first of the sequence. Just the first Photoshop document. And this is actually why I exported from Lightroom as PSD as Photoshop and not as a JPEG, because I didn't want to recompress the files because I knew I was going to run this action. Now, I also need to figure out where it is that I want to blur. And I don't really want to bore you or take the time to do that, so you could just say maybe, like I'm kind of like Julia Child, and I already have this created. And this is my lens blur depth map. Now if you want to learn more about this, I have another episode of The Complete Picture where I take a bird's nest and I apply the lens blur filter on that. We talk a lot about masking in that situation. So, here, I'm not going to repeat myself. All I'm going to do is select this and copy it, move over to the Hong Kong--the first picture--go to my channels panel, and then actually create a new channel and paste it just to show you what it is that I'm doing. So what's going to happen is all of the areas that are red are going to be blurred and the areas that are not red--and they're red, by the way, because I got the visibility eye icon next to this Alpha channel here in my channels panel-- the reason that they're red is because it's black, and where it's white, the area is not red. It's like a ruby overlay. If you've been in the industry a long time, you might know what that is. Regardless, it doesn't affect anything now. I just wanted to show you that this is what I'm going to use when I run the lens blur filter. So, how are we going to do this? Well, I need to create an action. If you're not familiar with actions, I have other movies on The Complete Picture that go over actions. Basically, I'm going to create a new set, and this set can be called LB for lens blur. And then I'm going to create a new action. Before I hit record, though, I don't actually want this Alpha channel in this file because it's not going to be in any of the rest of the files. I just wanted to show you that I'm using this in order to blur using the lens blur filter. So let's just throw it away in the trash. Okay, excellent. I'm going to start recording my action. Let's tap the new icon right here, and we will call this Lens Blur Hong Kong Harbor. Great. I'll hit record and now Photoshop is going to keep track of everything that I do. So the first thing I want to do is turn my background into a layer. I'll hold down the option key and just double-click on the background. That turns it into a layer. You can see that I've recorded that step. Now, I need to go and get that Alpha channel. It's important if you create your own depth map that you actually save that out as an individual file, because what I need to do is I need to go and open that file. But I can see the depth map is actually still open, so let's stop recording for a moment. That's the great thing about actions; they're totally flexible because I hardly ever get through an entire action without making a mistake. So I just close the depth map. And now we're going to start recording again. And I'm going to do a file open, so file open. And I'm going to open up the depth map. I'm going to do a select all. I'm going to copy it to the clipboard, and then I'm going to close it. I'm going to go to my channels panel. I'm going to create a new channel, that's my Alpha channel, and I'm going to paste it in and deselect. Now the important thing here is that I go back and I click to activate the RGB channel because I want to run the lens blur filter on that channel. So now I'll go to filter and then blur and then lens blur. And you can see from my source, it's picking up that Alpha channel. It's blurring all of the edges here and keeping the center in focus. Now, I have to say I have the invert button on because I realized that when I created this Alpha channel, it's actually the opposite of what I wanted, so luckily the lens blur filter has the ability to invert that Alpha channel. That's exactly what I want, so I'll click okay. I'm still recording in my action. And now I'll do a save as. I'm going to go ahead and save this one as a JPEG. And since I'm just building the action, I'll go ahead and save it to the desktop, click save. Let's set it to 12 for my quality, click okay, and then close the file without saving the original. Excellent, we can stop recording now. So now I have my whole action here, and all I need to do is run this action on all the rest of those files. That's very, very easy. So what I'll do is I'll select file and then automate and then batch. It's picked the set for me and the action because they're targeted in my actions panel. And then I'll just choose a folder. We'll go here to Hong Kong and click choose. I do not want to override the action open commands. I need the batch command to open up that extra file, that one that I'm going to use as the depth map in my lens blur filter. There are no subfolders. I don't need to supress any file open options or color profile warnings, so we'll leave those blank. For my destination, I'll go ahead and choose another folder. We'll click choose, and let's go back up here to export. We'll create another new folder. I'll call it Hong Kong, but this time let's also put LB for lens blur afterwards. We'll click create, choose, and I want to override the action save as commands. The reason that I want to do that is because I still want to save as a JPEG, and it will still save as a JPEG, but I want it to save in the folder that I just pointed it to that I just created. I can rename the files, but there's really no need to, so let's just click on okay. And Photoshop will go ahead and batch process all of those files. [3 minutes later...] Okay. Now that we've batch processed all of those files, let's go ahead and use the open dialog box again. We'll go here to the lens blur images, select the first image, click image sequence, and open that as a movie layer with a frame rate of six frames per layer. You can see now how this bottom area and the top area have this great lens blur effect. It's almost as if we had shot this with a tilt-shift lens, but unfortunately I don't own one of those, so this is second best to that. Okay, great. So it's playing along nicely, although I will admit, when it gets to be dark it's a little bit too dark. So let's say we want to add an effect here. Now you can add really anything you want over time, so all we need to do is go ahead and add this adjustment. So in this case, let's add something that will be really, really obvious like a gradient map. Let's see, when it gets dark I want the sky and everything to go red-orange, so I will click to add my adjustment layer, and then we can click inside the gradient map area and pick a gradient that I've actually already created. And we can make adjustments to this if we want to fine tune them. When I click okay and I apply this, we can also change the opacity of it by going into the layers area here. But let's just say that at this point in time, right when it's starting to get dark, I want to control the visibility of this gradient map. So you can see on my animation timeline under the gradient map, see how this gradient map here spawns directly to the gradient map in my layers panel. I'm going to click on the stopwatch next to opacity. What that does is it sets a key frame here. And I'm actually going to decrease the opacity of this layer so that as it gets dark we don't see this gradient overlay, and then as we move forward in time and it gets darker, that's when I want to see the gradient overlay. And all I need to do is change the opacity here in order to make that overlay visible. Now we can see that all of my dark areas are red going up into yellow and orange. And then we'll move forward in time, cause I didn't even have to add a key frame there because I made a change and it added a key frame for me. But now as I go forward in the time, as it starts getting lighter, here I do want to add a key frame, so I'll click on the little key frame icon. That will keep my opacity at a 100 percent until that point, and then I'll move forward. And as soon as it becomes daylight again, I will go ahead and change the opacity back down to zero. It added that key frame for me, and if we pull back the time insertion marker and I tap the space bar, we can actually watch that play and see how, as it goes from daytime to nighttime, we go from the colored image into that gradient map. So the point really isn't there that you want to add a gradient map to all of your movies that you bring in, but just that you can do anything. Anything that you can do in Photoshop, you can now do it on the timeline and make things fade in and fade out. Look it, I can change the position of things, I can change the styles. If I add a drop shadow or something, I can change that. I can change my layer mask position. I can enable or disable a layer mask, all sorts of things. And, of course, I can do this not only for the gradient map, but for any of my different layers. So, one more thing, really quickly, that I want to do. I want to show you how to add audio to this. Again, I'm going to use the open dialog box. I'm going to navigate here to find some royalty-free music. I'll go ahead and open that up. You'll notice that the .mov is a Quick Time movie. But you can see that it's blank. It comes up as nothing, but there is audio in there. So what I need to do is simply view or tile my images so that I can see them both, and then it might be easiest to just drag from my layers panel. In fact, let me name this audio, ™19 and then just drag from my layers panel on top of my other open document. Then we no longer need the audio opened anymore, so let's close that. We'll set the timeline back to the starting point, and we'll click on this little icon right here that will allow us to preview our audio. And now when we hit play, we'll be able to hear the audio that we've added to the movie. [♪classical music♪] So that's fantastic. We've created a movie with audio inside the Photoshop CS4 Extended. But now what? How do we get it out? Well, that's very, very easy. You just go to the file menu, you come down to export, and there's an option here to render out your video. Now, the thing to notice is you need to render this as a Quick Time export. And when you go into the settings area, it will not appear that you can export sound, but in fact it will export the sound with the movie. So just make sure that you export as a Quick Time movie and you will get that audio with your video. Excellent. You're all set. Thank you so much for joining me. My name's Julieanne Kost, and I hope you'll join me again on the next episode of The Complete Picture. [♪music♪] [Executive Producer, Bob Dorlon; Producer, Karl Miller] [Director, Kush Amerasinghe; Post-Production, Erik Espera] [Adobe TV Productions]
