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Creating Single Frame SEQUENCES

Creating Single Frame SEQUENCES


Alex here and today we’re talking about creating single frame sequences with scape photos in a W Photoshop as some people call these single frame sequences some people might call it action shot sequences there’s not really like a set name for them basically what we’re going to be talking about is one frame that’s going to have every image of the skater in your sequence all put together the first thing I’m going to say is that shooting is one of the biggest parts of creating this type of image editing kind of comes secondary to shooting it right that’s going to make the Edit much more easy to make and much more believable when it comes to shooting the first rule is to choose the right angle if you don’t choose the right angle for this type of shot it’s not going to work it just won’t people won’t be able to see all the frames of the skater and they won’t be able to see the trick so what you’re going to want to do is shoot at a 90 degree to 45 degree angle relative to the skater that’s going to give you enough room in between every frame so that you can see them and that there isn’t such significant amount of overlap of one image of the skate on top of another that you won’t be able to see anything like say if you’re shooting head-on you’re not gonna see anything but the last frame because the skater is just going to keep getting placed over themselves in the Edit number two I’m going to say that using a tripod is very good for this type of thing it’s going to make the Edit much easier you can get away with hand-holding and just holding real tight and holding your breath but there’s going to be sway in the image and you’re going to have some movement in between frames and you’re gonna have to take a lot more time and editing about to reposition and readjust the skater and make them look like they’re aware that it need to be in the image excuse me I do have a cold right now so I might sound a little crazy today I apologize for that guys thirdly you’re going to want to shoot with a camera that has a high enough frame per second count for it secret shooting that you’ll be able to capture every frame that’s just basic rules for shooting sequences at all I would recommend seven frames per second and above is going to get you everything you need that’s going to make sure that say if you’re shooting a tech trick you’re gonna get every frame you need above is even better but seven is definitely gonna do good five frames per second would be pretty much the minimum if you’re not shooting or something that has five frames per second or below you might miss some of the key shots that you’re going to need like say if someone’s flipping into a trick it’s very likely that you’ll miss the flick or you’ll miss that frame of them catching the kickflip or something like that it’s very easy to miss the shots that you need when you’re shooting like say three frames per second so five frames per second is gonna be the minimum but you might still miss some things seven frames is gonna be the best for you what I’d say next is to shoot in manual focus make sure that you don’t have your auto focus on while you’re shooting because if you have your auto focus point set to follow then while they’re skaters moving throughout the frame your camera might try to start auto focusing on them as they move to different spots in the image and that’s going to create a problem for you because that could change the depth of field and the image and it could change where certain things are and what they’re going to look like so I would say choose a focus point by where the trick is going to be happening some of the most important frames of the sequence auto focus on that and then set your focus to manual focus that nothing’s changing and that way if you’re on a tripod you don’t have to worry about anything you know that everything’s going to be fine nothing’s going to change and the last thing I’d recommend is to shoot raw I always recommend you shooting raw when you’re shooting skate photos because it’s going to give you enough data to work with in Photoshop and if you’re going to print it you’re gonna have a nice big file to work with I in this case in particular i recommend the shooting raw because say if you’re in a very varied lighting situation if the sun’s coming down and there’s a tree somewhere or there’s shadows onto the spot and your skaters going to be going from highlights to Shadows throughout the image if you’re shooting in RAW you’re gonna have plenty of data for the shadows and the highlights of both if you’re shooting in JPEG your shadows might look really crazy or your highlights might look really crazy and you won’t have very solid frames of the skater in those scenarios so shoot in RAW to make sure that everything’s going to be generally the same type of exposure and that you can have plenty of information on the skater all right so now that you’ve shot in photos and you’ve gotten them onto your computer it’s time to open them up in Photoshop and start editing everything together so what we’re gonna do is click on this folder here I’ve got photos of Tyler friends and I took a sequence of him and we were shooting together he was in town for a pyramid country trip so here we go all the open in the Camera Raw I’m gonna click on this icon on the filmstrip here I’m gonna click select all and now I’m going to set my profile to neutral and set my lens Corrections and as you can see it’s editing all those images that’s why we do select all to make sure it’s making changes to everything so if you don’t know much about using the camera editor or editing in Photoshop at all I would highly recommend watching my youtube tutorial on how to edit scape photos in Photoshop it’s going to cover a lot of the basics like lighting color using the camera editor all those types of things that I’m going to be assuming that you know about in this tutorial so if you’re all good let’s just go along and open these images and so here we go it’s gonna open all of them as you can see he’s doing a Wally blunt here that’s why I chose to do a sequence it’s tough to show something like that in one frame so I thought I’ll do a sequence and have everything show up in the image when I’m making these types of shots I don’t do anything like lighting color cropping before I’ve put everything together I think that it’s going to mess up the way that you do it and it can make mistakes easier when you’re blending things in they can cause problems for you because maybe you don’t have the right adjustments above the layers of the skater to me it’s just easier to make the sequence first and then start making my overall adjustments for this sequence I’m going to choose this roll up image as the background frame usually I just choose the image when the skater is the farthest away from me to set as my background frame and then I work from there and so in this case it is the roll up so I’m going to make a duplicate of that layer and we’re gonna label it and now what I want to do is start adding the frames of Tyler here so I’m going to zoom in on the second image I’m going to click L or I’ll come over here to my lasso tool get on the standard selection and I am going to just click and start dragging around I’m gonna leave a little bit of room here because that’s gonna help me blend it in later if anything it doesn’t look right oh and I just missed something but we’re gonna go back and fix it if you’re quick you’ll probably see where I messed up alright and once I get here to the end of the selection I’m just gonna release and it finishes it up for me so if you didn’t notice what happened was that I missed this shadow here in the selection getting the shadow is very important for these types of shots sometimes you can get away with it if it’s in a certain place where you wouldn’t see it anyway but with this it’s gonna be on the ledge if that shot it wasn’t there it’s not going to look right it’s going to look fake and it’s not going to sell well people are going to feel like there’s something off in the image and most likely it’s because the shadow isn’t there when you’re on the standard selection tool you can’t just add because it’s going to delete the selection we made previously so we’re gonna do is come up here to the top left we’re going to click on this add to selection icon and now you can see there’s a nice little plus next to our lasso tool so we’re going to click inside the selection we already made and drag around the shadow and come back inside the selection and release and see now it added to that selection we’re gonna give ourselves a little bit of space here where that shirt is – okay and so now we will zoom back out we’re gonna make sure we’re select on the layer click command or ctrl C to copy and we’re going to go back to our first layer now this is why we shoot with the tripod when I paste this on it’s going to be so easy because I don’t have to leave anything what we’re gonna do is go to edit paste special and paste in place or click the hotkey command shift V see how Tyler is exactly where I want him to be I don’t have to move him around there’s nothing weird about where he is he fits perfectly where he was in the second frame and that’s why we choose paste in place and now if we come in here we can see a little bit of a line here that got made from that selection a selections not feathering or anything it’s making very hard lines and so in some places there might be some blending that you need to do that’s the only thing that we need to do so we’re going to make sure that we’re selected on the wall a layer and we’ll make a mask and we’re going to go over here to our swatch and change it to black or hit the hotkey X you know make sure we’re painting with a soft brush 8% is nice and we’re just going to paint over the line and have it blend right in and we’ll come all the way around here we’ll take a look at everything and everything else looks good and so see that is why we shoot it on a tripod because that’s the only adjustment that we needed to make for that layer everything else is just so much easier when you shoot on a tripod and so the lingual this layer Wally and we’ll move on to the next one so here’s gonna be the first frame with a blunt slide then I click L to get our lasso tool and just drag around like I said that’s why you leave a little bit of space these selections definitely don’t have to be perfect because we shot them on a tripod and you kind of don’t want them to be just in case you need to blend some things in and give yourself a little bit of wiggle room to edit if you made a perfect selection or if you made it very close where you really wouldn’t have much room to blend anything in together so that’s why if we just leave ourselves a little bit of space you can see and command shift fee and there we go now if i zoom in here we can see that part of that selection around Tyler’s hand is cutting off the board from the previous layer so what we’re gonna want to do is create another mask open up our brush and we’re gonna do the same thing we did to blend in this line here by his shadow we’re just going to paint black right on to that layer and bring that board back in well zoom in you can see there’s still a little bit of some issues there now depending on your brush size your flow and your hardness you might need to get closer or farther away you kind of just need to test it out don’t forget you can always just hit that command Z undo it’s no problem if you mess up you know is just take that change back into retry button so now his hand is just nicely placed on top of the board it doesn’t look weird we’ll come in here and make sure that nothing else is looking off nope so for the rest of this I’m just gonna do this selection I’m not gonna worry about making you kind of sit through every single image we’re gonna add in it’s all the same of what I did it’s just doing that over and over again making a selection copying it pasting it in place and then blending it in so I’m gonna see you guys at the end of this and we will start to edit the photo all right so now that that’s all done we’ve got the entire Wally bluntslide going across the screen very nicely everything looks very real very believable we’re just going to click the top layer shift-click the bottom one and make a group now that’s gonna do is just collapse everything into this one group file here we’ll label its sequence and that just makes it easy to know which layers are the sequence layers and when I start making adjustments which layers of my adjustment layers it just gets that out of the way it creates less clutter your layers panel so now that we have everything together now we will do some editing lighting color cropping and stuff [Music] all right so if they’re getting too crazy into editing and everything that’s all the changes that I’ll make just for this so as you can see we went from that to that and like I said as long as you use those tips it’s going to make the editing process super-easy you saw how fast I was able to just add everything in and blend it together if you shoot handheld it can be done but it’s just gonna be much more difficult if you shoot with a lower frame per second you might miss some things like the wall-e or the pop out things like that that are really going to make the image really come alive and show the trick that you want to show and also shooting it raw obviously is going to give us plenty of data to work with here and deal with this intense bright and intense dark type of situation finally choosing the right angle that was the biggest thing if I had moved myself more in front of Tyler there’s no way the shot would have worked out and it couldn’t have been made so that is how you make single frame sequences in Photoshop thank you guys so much for watching and dealing with my cold sounding voice today and Shalom

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