Click on any phrase to play the video from that point.
[♪ Rock music] [ADOBE TV Presents]
[Russell Preston Brown in...]
[The Russell Brown Show]
[ADOBE TV]
Welcome to the Russell Brown Show
and this episode that's all about working with video
inside of Adobe Photoshop CS5 Extended.
Now many of you may have purchased a really nice camera-
like a 5D Mark II--that now supports video export.
And here, inside of Photoshop Extended, you can work with it.
So you're very, very good at using Photoshop,
you know all the tools for working on an image--
you can use those same tools here on a movie.
A Quicktime movie, in this case.
Check this out:
I'm shooting this video here on the island of Maui
and as you can see--as I scrub through this, it looks pretty good.
But you can see over here that I have a multitude of different layers.
It's very much like working on a regular image.
I can create some really nice effects.
So here's my finished result--let's build this from the beginning.
I'm going to go ahead and open up my original movie from my 5D Mark II.
In this case, it's just a Quicktime movie--and it must be a Quicktime movie in order to work.
I'm going to go ahead and open that.
Tip No. 1: To get your color right, I find that I need to calibrate my monitor.
As you can see here, I've calibrated my monitor and I'm using that as a standard.
I get my best results if I assign video to the calibration of my monitor.
It's a really nice tip in technique to keep this one in mind
because I'm now setting this Quicktime movie
and I'm setting it up so that the colors will display
in Photoshop, as they display on your monitor--wow!
So if I do any color corrections, I can believe them.
Do not convert your document to RGB.
I'll repeat that: Do not convert it, just display it correctly.
Wow--You actually learn something on the Russell Brown Show!
You click Okay.
So here's our original video.
I can scrub through here and I can see our video.
But wait--let's zoom in on this problem!
Mister Brown did not clean his CCD surface or the lens of his camera--
clearly not a professional photographer.
I've got a dust spot, and that dust spot continues throughout the entire video.
So you're thinking to yourself: This is Photoshop, let's just fix this
with a great feature here called the Spot Healing Brush tool--right here.
It works on a regular image--it must work here.
We'll create a new layer here from our Flyout menu, Create New Layer,
and in this layer we're going to Heal this, but
we're going to sample all layers here from the top--check this out--
and we're going to do a little bit of Content Aware, and I click.
Wow, I'm done--I'm done, end of video except
we play the video--
Ah-oh--check this out--
there's a hole through her arm!
So that little repair works very well on the sky, but does not work on the rest of the video.
I can't just run that through.
It's going to leave this little gap here and cause trouble.
So working with Photoshop
we would normally use something like Dust and Scratches--let's try that!
So let's throw this away and see if the logic comes through.
I want to apply Dust and Scratches throughout this entire video.
But to do that, I need to turn this into a Smart Object.
Check this out--I'm going to hold down my right mouse button and click
right here on this layer and Convert to Smart Object.
That's the key to working with video--
is to switch this to a Smart Object--
because I can now apply Special Effects and filters--cool!
Target that, up to my Filters menu, and down here to Noise
and over to Dust and Scratches--right there.
Let's go to that particular point in the video.
In fact, I'm going to cancel from this, and we want to go to that point in the video there--
right there--and then go to Filter, Dust and Scratches,
again--down to noise, Dust and Scratches because now we can make that disappear.
Notice how I can adjust my Radius setting and my Threshold.
Now, I seem to be destroying the image--overall.
If I zoom back out here you can see that I'm blurring the image,
I'm pretty much destroying it in this process of getting rid of that spot.
But I really want to make sure that spot is gone, so we're going to leave that just the way it is.
Now that we've destroyed this, let's repair it.
Let's click Okay.
We've got one version where the spot is gone.
Just like if you were working in Photoshop, let's create a second copy of this.
So I have a second copy, and I'm going to throw away the filters that we're using here.
I'm going to throw away the Dust and Scratches on this other one.
So let's just make this clear: one copy that's sharp,
one copy that has Dust and Scratches adjustment to it, okay?
And then--check this out--it has a mask.
Whenever you want to isolate a particular effect across your image,
use a mask.
So, I don't want the effect to go throughout the entire video--well, I do want it to go
throughout the entire video, but I don't want it to go around my dancers.
So let's target that mask, we check out--
in the lower left-hand corner here,
we notice that our background color is black.
If I hold down the Command key on the Macintosh
or the Control key on the PC and then select the Delete key,
it always floods any selected mask with the current background color.
I'll repeat that again: Command or Control and the Delete key
always floods a region with the current background color.
Great, great feature--I use that all the time.
Our dot has returned, we target our mask, we select a brush,
we're painting with white, and we want to be painting 100 percent here at the top.
Now I can go through and merely spot--
did he say that?
Oh, come on now--he's got to zoom in.
I merely can go in and spot the image for any problems I might have throughout the image.
If I saw other areas where there was trouble I can go through and spot the image.
What am I doing?
I'm making a window inside this mask, as we see here.
I held down the Option or Alt key and clicked on the Mask to view it
and you can see the little window.
So only that window will allow the Dust and Scratches through.
Two videos on top of each other: one that's blurred and Dust and Scratches
and one that's normal--and, here we go.
We just go ahead down here
and we can play our video--
and I don't have that problem throughout the entire video.
I can continue to have that dust spot
on my camera without a problem across the entire video.
Now I couldn't just stop there because
I want to reinforce the fact that video is very much like working in Photoshop.
If I go down here and select this second image--down here--
I want to show you that you can also go up here to your Image menu, for example,
down to Adjustments and I can add a Shadow, Highlights, Adjustment to this.
I can go in and adjust my Shadows across my image
or my Highlights and make adjustments on my
image that I'm working on in this particular project.
It's a really great feature.
I also like the ability to target here on the top level.
Let's go down here to our menu of Effects
and I want to add Vibrance.
Again, one of my favorite features that I work on with an image.
Why can't I just use that here?--of course I can.
I can apply Vibrance across my entire image.
And just to finish this all off, and just to make your brains explode--check this out:
I'm doing an open--I happen to have an audio file here--.m4v file--
No--wait a minute--my audio file is right here!
It's the Hawaiian drums.
Let's click on that; let's open it.
Should I Color Manage audio?
Hmmm?--No!
We can bring in the audio.
The audio is a standard layer here.
If I use my Move tool, I can bring this over and drop the audio file in.
So audio exists as just an extra layer inside of Photoshop.
And here we go--let's go down here,
make sure our audio is on,
and we hit our play button to finish this all off. [♪Drums playing]
We can play our audio in this image and finish off our project. [♪Drums fade]
We've repaired our spot, we've enhanced the color, and we've added in audio.
There it is--an advanced look at Photoshop CS5 Extended and working with video.
[♪Music begins] [The Russell Brown Show] [ADOBE TV]
[Executive Producer Bob Donlon]
[Producer Karl Miller]
[Director Kush Amerasinghe]
[Post-Production Erik Espera]
[ADOBE' TV Productions] [tv.adobe.com]
