Rotoscoping Photoshop | How To Rotoscope In Photoshop Cc (beginner)

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Theresa McGee

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How To Rotoscope In Photoshop Cc (beginner)

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Okay, so this is what? I’m gonna do for rotoscoping in Photoshop start by clicking open. And I’ve got my video that I want to work from. You can also use a still image. I’m going to open it, so I’ve got that in here. If I want to can hit play, I can see the ants moving around, So what I want to do is make some changes because I’m going to be applying an effect to each one of these frames. That’s a lot of work right down here at the bottom. It says 29.97 FPS frames per second. So in one second, I have 29 things. I have to do to each one of these frames. It’s way too much work, so I’m gonna come over here. I’m gonna change this. I’m gonna go down to where it says. Set timeline frame rate. Click on that, And I’m gonna change it to 12 I’m gonna hit OK now. So that was our hidden little area there. Now you can see 12 frames per second, So that means that I don’t like to do 12 things instead of 29 So what I want to look at now? Is this video? You can see the whole video in this just sort of area right here, timeline. I’m gonna do a zoom in. Basically, It doesn’t change the length of film at all it. Just lets me zoom in it. I’m gonna go all the way to the right, so I’m gonna now. Do you see this every time? I move it. It kind of pops over. That’s a frame When I hand it really small like this. It was really hard to tell where the frames were each. What I was doing so just for ease. I’m just gonna start by showing you each one of these and how it pops in each frame Just so it’s easier to see. Okay, so I’m gonna start at the beginning here now. There’s a couple things that I want to consider do. I want to draw over this and then get rid of the film when I’m done. If that’s the case, here’s what you need to do. You’re gonna go up to your layer and you’re gonna go to where it says. Video layers. Then you’re gonna go to where it says. New blank video layer. Okay, so what they did it is. It created a new layover here and just so you can see. I’m going to shrink this down here. Okay, so you can see it automatically put it side-by-side and if I try and put this over it, it’s just gonna put it in a different order. I want to put one above the other because I’m going to be layering and drawing on top of the film so in order to get that to work. I have to take this out of this little group here, so I’m gonna just pick this up and throw it out here. All right, now they’re separate and I can put them like this together. Okay, so now let’s say. I want to draw on here, so I’ve got just drawing some yellow. It’s lovely now. I’m drawing on this one, so it doesn’t destroy this film down here, so I’m dry in there and I want to go to my next one. Let me be on this way out again. Go to my next frame boom. There’s my next frame, but then. I can’t see what I just did, so there’s. This thing called onion skin. So if I click on that little hidden feature again and I go to enable onion skins, You’ll see that it kind of makes it a little darker. You can see it here. See it there. Can you see the faintness of that color, so what? I’m going to do is just so you can see a little bit better. I think I’ll change my color or something, just so we can see it. I’m gonna draw on here again and then I’m gonna go to the next frame, all right, so I’m in another a new frame. This just means it’s the hidden frame behind it. This is not actually on this frame. It’s just the visual, so I can see what I just did, so I got on the next frame and let’s say I wanted to pick up where I left off and do more squiggles next frame, and I want to pick up where I left off. So that’s what the advantage to onion skin is disadvantage. It’s really kind of hard to to see what’s going on just because of the darkness, and there aren’t ways that we can change that, but it’s still it’s still hard to see. If you want it to go back, so you can see your thumb. Just unclick enable onion skins. And you can see what it looks like now. I’m gonna come up a couple more frames here. All right. That was the last one now. I can also do some destructive changing to my film, so right here. I’m on this layer. This was, I’m gonna turn this eyeball off here, so you can you actually see so if I wanted? I can have this squiggly thing going on, but I’m gonna turn this back on and I’m gonna come to this lair. I have to be on this layer if I want to do anything with filters. I tried this one. The filters won’t work. I’ll show you so if I go to filter and I want to go to my filter gallery here. It says it couldn’t do it because it’s empty, cuz. It’s just a blank blank thing, right there. You don’t have to, you know, do anything to it. You could draw on it, but you can’t make any changes, so I’m gonna click on here. I’m gonna go to filter and I’m gonna go to my filter gallery. Alright now! This is where you can mess around and do some interesting, distorted features, so let’s say. I like that so you can see there. There’s another one. I’ll go to another frame so I might want to do another another one, So let’s see maybe this time. I will, let’s see what the rest go and we’ll just mess around with the textures and stuff snake can see. There’s the first one there’s another one. Let’s go to another frame and you can change. Any kind of colors filters are a fun way to do it like this rough pastels or this under glazing or kind of sort of a watercolor, smudge. Whatever it is that you want and remember, you can also change. You can do some distortions, too like that so now. I’ve got a several frames here That are different from each other. Okay, so I’m gonna come back down to this part right here where I’m kind of gonna zoom back out, so I can see everything now. I only did a short amount right here. So what I’m gonna do is I’m gonna take this and pull this over. I’m gonna see where my last frame was. First, lets. See, mmm, that’s the last thing I did, so I’m gonna pull this when worried up to it. Okay, that that way, you’re just telling it. What part of the film you want to work from so? I’m gonna hit play. You got it, lets. Start over here, so we’ve got our framing done here. Now let’s say what, dusk? Oh, my gosh! This is the worst thing ever. I wish I didn’t do this to this frame. Okay, so as long as you. What frame you want to change? Okay, so let’s say this one’s awful What I can do is I can go up to my lair and I can go to my video layers and I can hit restore frame and it brings it back. It’s not a go. Oh, actually! I really want it to. Do you know something different in there? I wanted to do, I don’t lets lets. See what we can do was. Let’s pinch. Let’s distort this one and see if there’s anything we can do to kind of make it a little crazier, so you just pinched it. Okay, so there’s a whole bunch of different things going on, so there is a way to change it. So if you make a mistake, you can definitely restore that frame. You can’t restore individual things as easily, but you can smooth store that frame. Okay, so you’re finished. If you want to just have where you drew on it, you’re gonna just turn that off, so you can see whatever you want to see or you want both which most of you? Well, you’ll want to keep you original video out there. Okay, So now what I’m going to do is I’m gonna go to file. I’m gonna hit export and this time what I’m gonna do is I’m going to render video. X file export minder video. Okay, what I would do is I would change this to, like ant rotoscope or roasts Roto or something like that, So I know what it is. I want this to be Quicktime. So make sure that changes to Quicktime it probably by default will be this so change that to Quicktime. For what we’re gonna do. Keep the document size at what it started at, okay. The frame rate should be that 12 frames per second as before, and it makes sure you know where it’s gonna go to your desktop, so I’m gonna hit render. Depending on how long your video is. It will render. There’s my aunt’s proto. It’s gonna open and convert and here we are. You can see what you’ve done. Okay, so you’ve got your video there you go.