Errata

Please change last sentence of last graf to read:

...and to our beautiful kitties, Samantha and Sherlock, who forced me to get out of my pretty purple Aeron chair and play The Laser Pointer Game with them at exactly 5:15 pm each day.

1st paragraph, 2nd sentence, please change to read:

She's an internationally acclaimed speaker, a stock photographer, and the founder of the creative tutorial site...

Page 96, please replace first three paragraphs of sidebar with the following text:

One of the problems with Photoshop?s pattern fills is their lack of randomness. Basically, the program takes an image that?s perfectly square and repeats it in a grid-like pattern, whether the image is built into the program as a preset or one you load using the preset menu (labeled in Figure 3-11, bottom). But a real brick wall, for example, isn?t made from perfectly identical bricks; each brick varies in color, texture, and sometimes size.

That?s why Adobe added the ability to apply scripts to pattern fills in CS6. You can access these scripts via the Fill dialog box or when you?re filling a path (page 564).

To give scripted patterns a spin, create a new layer and then choose Edit→Fill. In the resulting dialog box, from the Use pop-up menu, choose Pattern and then pick a pattern from the Custom Pattern menu. Next, turn on the Scripted Patterns checkbox at the bottom of the dialog box, and then choose from the five built-in scripts: Brick Fill, Cross Weave, Random Fill, Spiral, and Symmetry Fill. Click OK and Photoshop adds a whole lotta randomness to your pattern, as shown here (Spiral is the only one that doesn?t introduce random color). For example, the Brick Fill script makes Photoshop offset the pattern every second row by half of the pattern?s width, and introduce a variety of colors based on the original pattern?s color (in this case, the gray Sandpaper pattern in the new Erodible Textures category). These scripts become even more useful if you use ?em on a custom pattern you create yourself, such as one made from the leaf and chili images shown here. For step-by-step instructions and ideas on how to use ?em with your own photography, visit this book?s Missing CD page at www.missingmanuals.com/cds and click the Scripted Patterns link.

Page 356, sidebar at bottom of page, please change last sentence of last graf to read:

Flip to page 650 for the step-by-step scoop, and see the caption in Figure 15-9 to learn how to fix edge fringe in Camera Raw.

Page 651, figure 15-9 caption, 2nd paragraph, please change to read:

In the Lens Correction panel, click the Color tab and turn on the Remove Chromatic Aberration" checkbox. If necessary, adjust the...

Page 788, please replace all text on that page with the following (it should fit but if not, please alert me and I'll edit down):

The easiest way to create a new video project is by opening an existing clip. You won?t get the handy guides that you do when you create a blank video project as described in the previous section, but you can always add ?em yourself (page 69 has more on guides).

NOTE: Photoshop supports MPEG-1, MPEG-2, MPEG-4, MOV, AVI, and FLV (if Adobe Flash is installed on your computer), along with Image Sequence formats (where each frame of the video is saved as an individual file) such as BMP, DICOM, JPEG, OpenEXR, PNG, PSD, TARGA, TIFF, Cineon, JPEG 2000, and more. Whew!

To open a video clip(s) as a new document, choose File→Open, navigate to where the clip(s) live on your hard drive and click Open. Photoshop creates a new document whose size matches the size of the frames in the video, it opens the Timeline panel (Figure 20-2, top) and plops the clip into a video track. Photoshop also creates a group in the Layers panel (named Video Group 1) and places the clip inside the group on its own Video layer (Figure 20-2, bottom). To add another clip, click the tiny filmstrip icon next to the track name in the Timeline panel and choose Add Media. In the resulting Add Clips dialog box, navigate to where the clip(s) live (Shift or @cmd/Ctrl click to choose more than one file) and click Open. You can also click the + sign to the right of the video track to do the same thing. Either way, the new clip(s) appear to the right of the first clip and in the Layers panel as a new layer at the top of the currently active video group. Clips in a single track play one after another.

To add a clip to a new document?say, a new video document (page 799)?choose Layer→Video Layers→?New Video Layer from File? and in the resulting Add Video Layer dialog box, locate a clip and click OK (you can?t add multiple clips with this method). Photoshop imports the clip as a Video layer and places it on a video track named Layer 1. (You can also click the Create Video Timeline button in the Timeline panel to do the same thing, though you only see that button if you?ve not yet created any Video layers.) To add more clips, use the methods described in the paragraph above and Photoshop adds ?em to the track and plops the clips into a new group in your Layers panel. You can also use Bridge or Mini Bridge to open or add clips to your project (see Chapter 21).

WARNING: Photoshop never embeds video into your document. Instead, it links to the original video file, keeping your Photoshop document?s file size manageable and leaving the original video file untouched; if you move the video file on your hard drive you?ll break the link. This allows you to perform nondestructive editing?Photoshop applies your edits to a copy of the original clip when you export your project (page 815).

Keeping your video clips in one track (and thus, a video group in your Layers panel) is handy for organizing your project. For example, you could use one video track for clips that you want to play in succession and another track for text (page 798). If you want one clip to play at the same time as another (say, for a special effect), add another video track by clicking the filmstrip icon next to the track?s name in the Timeline panel and choosing New Video Group.

REVISED FROM EARLIER SUBMISSION:

3rd paragraph of new text from earlier errata, please change to read (changed page ref from page 799 to page 786):


To add a clip to a new document?say, a new video document (page 786)?choose Layer...

Page 789, last graf at bottom of page, please change to read:

If you?re working with multiple Video layers (whether they?re in a video group or not), be sure to give each one a meaningful name. This helps you keep ?em straight in your head and prepares the document for additional tweaking in a professional video-editing program, which may get confused by duplicate layer names (say, if you import the same video clip twice instead of just duplicating the Video layer in Photoshop).

page 790, subhead 1, change body text of that section to read:

Once you?ve added some video clips to your document, you might want to turn them into Smart Objects. When you do, the clips are primed and ready for applying filters nondestructively. In fact, using Smart Objects is the only way to apply a filter to a whole video clip (otherwise Photoshop only applies the filter to a single frame; you?ll learn more about that on page 814). Using Smart Objects is also handy if you want the clip to be smaller onscreen than other clips (for a picture-in-picture effect).

While it seems logical that you could import a video clip as a Smart Object by choosing File→Place? you can?t. Sure, doing so adds the clip to your document as a Smart Object (page 126), but Photoshop treats the clip as a still image instead of a video. The only way to turn a Video layer into a Smart Object is to add the clip using the techniques described on page 788 and then Ctrl-click (right-click on a PC) near the layer?s name in the Layers panel and choose ?Convert to Smart Object? (you can also activate the layer and then choose Filter→?Convert for Smart Filters?).

page 791, please change 1st note to read:

Even new machines can struggle with video playback, especially if the clips are high definition. If the frame rate turns red during playback, you aren?t seeing all the frames (Photoshop shows how many you are seeing, instead of the intended frame rate). You?ll also spot a row of tiny cyan dots beneath the Time ruler (visible in Figure 20-2).

change 2nd note to read:

In the Layers panel, layers that are lower in the stack within a video group appear earlier in that video track, and layers that are higher in the stack appear later. (In other words, the bottom-to-top order of Video layers in the Layers panel is the same as the left-to-right order of video clips in a video track.) So dragging a Video layer down or up in the Layers panel also moves the clip left or right in the video track, respectively.

change last graf to read:

Fortunately, Photoshop makes it easy to trim a clip?just drag its endpoints left or rightward in the Timeline panel. As you shorten one clip in a video track, the others slide over to keep the track seamless, as shown in Figure 20-3.

change caption of figure 20-3 to read:

Point your cursor at the start or end point of a clip and it turns into a bracket with a double-sided arrow (circled). The direction of the bracket indicates which clip will be affected. Click and drag the bracket left or right and Photoshop opens a preview window that shows exactly which frame you?re trimming the video down to. Handy, eh?

page 792, change 1st note to read:

If a Video layer has been converted into a Smart Object (page 790), or if you used File→Place to import a still as a Smart Object, clicking the triangle in the clip?s top right opens the Motion panel instead (it includes presets such as Pan, Zoom, Rotate, etc.). You can use this panel to add Ken Burns-style motion to your still images in order to produce a pro-level slideshow. This panel is discussed on pages 804-805.

page 798, please change 1st tip to read:

Once you?ve added text, you can animate it in a variety of ways; some easier than others. For example, you can flip ahead to page 804 to learn how to add motion using Text Warp (slightly complicated) as well as how to pan and zoom text using the Motion panel (super easy).

page 800, please change last graf on page to read:

To create a more complex and layered audio effect in which audio clips overlap each other, you can add additional Audio Tracks and place audio clips in them. This is a great way to add sound effects to your project. To do so, click the musical-note icon circled in Figure 20-9 (top) and then, from the resulting pop-up menu, choose New Audio Track. Position your playhead at the point in which you want the sound effect to occur?say, when your superhero descends from the sky and lands on the ground?then drag the audio clip to the Playhead and it snaps into place. If you?re searching for such a sound effect, try the keywords ?cinematic hit.?

page 804, please change last graf to read:

You can also animate text, and still images for that matter, by using the five Ken Burns-style presets available in the Motion panel; to open it, click the little triangle at the far right of the text clip in the Timeline panel, or Ctrl-click (right-click) the text clip itself. The presets in the Motion panel are a great way to quickly get your text or images moving, as they animate ?em for you, beginning at the start point of the text or image clip and ending when the text or image clip does. Each preset offers different controls that you can tweak (they all include a ?Resize to Fill Canvas? checkbox, which fills your frame with the text, regardless of its original size). Here?s what each setting does:

page 805, please change caption of figure 20-12 to read:

Top: The Motion panel?s presets make it easy to create basic text or still image animations. Click the triangle circled here to open the panel.

Bottom: Here you can see each Ken Burns-style preset and their various settings.

For a pro-level slideshow of your own photography, try importing a slew of still images into a single video track using File→Place. Once they appear in a track in your Timeline, you can use the little triangle at the top right of each image clip (circled here at top) to add motion to each one for a very custom effect. Sweet!

page 810, please change last 3 grafs on page, beneath "Adding fill and Adjustment Layers" to read:

Just like still images, video clips often look better after you adjust their color and contrast or apply a creative color effect to ?em (think black and white or sepia), all of which is easily done with an Adjustment layer. There will also be times when you want your video to begin or end with a fade in or out to a solid color (say, black), which is the perfect use for a Fill layer.

Happily, you can add Fill or Adjustment layers to a video project exactly the same way you add ?em to any other Photoshop document?just activate the layer in the Layers panel that you want the Adjustment or Fill layer to appear above, and then click the half-black/half-white circle icon at the bottom of the panel. From the resulting menu, choose the kind of Fill or Adjustment layer you want to add, and then adjust the settings that appear in the Properties panel. For example, to start your video with solid black, you can add a black Fill layer to the bottom of your video group in your Layers panel (or drag it to the beginning of the video track in the Timeline panel). To add solid black at the end of your video, duplicate the Fill layer and drag it to the top of the video group or end of the track. (For more on Fill and Adjustment layers, see page 77.)

When you add an Adjustment layer, Photoshop automatically clips it to the active Video layer, so you don?t have to worry about it affecting other Video layers (Fill layers don?t get clipped to the active Video layer). If you want the Adjustment layer to affect all the Video layers underneath it, click the ?Clip to layer? icon at the bottom of the Properties panel (it?s circled in Figure 20-17). However, unlike still images, the lighting in a video clip often changes over time. Fortunately, the Timeline panel also lets you control the duration of Adjustment layers applied to video clips (you?ll learn how in a moment).

page 811, please change figure 20-17 caption to read:

Top: The down-pointing arrow above the Video layer thumbnail indicates that the Adjustment layer is clipped (attached to) the Video layer beneath it, so it affects just the one clip. Fill layers are different and are visible across the whole video frame, so they can?t be clipped to any layers. Fill layers are super useful for fading your video to solid color either between clips (say, to make text readable) or to create a fade-in/fade-out effect at the beginning or end of your project.

Bottom: The ?Clip to layer? icon at the bottom of the Properties panel controls whether the Adjustment layer affects all the layers below it, or only one. Just give it a click to reverse its behavior.

page 814-815, please change last graf on page 814 to read as follows (it spills over onto page 815):

The good news is that you can run Photoshop?s filters on video clips. The bad news is that if you run a filter on a regular Video layer, it only affects the current frame of that video. To make the filter affect all the frames in the clip, convert the clip to a Smart Object first by activating the Video layer in the Layers panel and then choosing Filter→?Convert for Smart Filters;? then run the filter (as you learned on page 790, you can?t use File→Place to import video as a Smart Object because Photoshop turns it into a still instead). Alas, you can?t adjust the duration of the Smart Filter?it affects the entire Video layer. (For more on Smart Objects, flip back to page 126.)

page 818, please add following bullet point above the others at the bottom of page:

www.PhotoLesa.com. Your author is continually pushing the bounds of video editing inside of Photoshop and frequently publishes tutorials for your reading pleasure. A fun example of solid black fades, multiple clips, transitions, audio, as well as animated text and stills lives at lesa.in/pscs6videofun.