Also, there arereviews of RIK Landscape Pack and Share your Design collaborative portal, as well as a tutorial of how to photograph and edit interior shots. In February when a limited-edition Adobe Photoshop 20th anniversary commemorative iPhone app was released to 50 select attendees of the anniversary event.

Changing the interface of Photoshop CS5 to another language normally requires the installation of a language pack from the Adobe website. The language packs are free, but only if you downloaded Photoshop from the Adobe website. If you obtained the program from another source, you can't switch to a foreign language without purchasing another copy of Photoshop. However, if you have a foreign-language version of Photoshop CS5, you may be able to change the menus to English by disabling the language data file.

In this tutorial, learn how to import layered PSD files in order to create picture-in-picture effects in a Premiere Pro project. This tutorial is a single movie from the Premiere Pro Guru: Dynamic Link and the Adobe Workflow course presented by lynda.com author Rich Harrington. The complete course is 1 hour and 29 minutes and shows how to save time, save disc space, and get more billable work done using Dynamic Link--the Adobe technology that allows you to use files from other Adobe apps inside your Premiere Pro projects. • Welcome • 1.

An Intro to Dynamic Link • 2. Adobe Premiere Pro Working with After Effects • 3. Adobe Premiere Pro Working with Audition • 4.

Adobe Premiere Pro Working with Photoshop • 5. Adobe Prelude to Adobe Premiere Pro • 6. Other Workflows • Conclusion Follow Me on or Start a. In this tutorial find out how to work with slow-motion effects in Premiere Pro. This tutorial is a single movie from the Premiere Pro Guru: Dynamic Link and the Adobe Workflow course presented by lynda.com author Rich Harrington. The complete course is 1 hour and 29 minutes and shows how to save time, save disk space, and get more billable work done using Dynamic Link--the Adobe technology that allows you to use files from other Adobe apps inside your Premiere Pro projects. • Welcome • 1.

An Intro to Dynamic Link • 2. Adobe Premiere Pro Working with After Effects • 3. Adobe Premiere Pro Working with Audition • 4. Adobe Premiere Pro Working with Photoshop • 5.

Adobe Prelude to Adobe Premiere Pro • 6. Other Workflows • Conclusion Follow Me on or Start a. The Conditional Mode Change command in Photoshop allows you to set a color mode among your images in a consistent way. In this tutorial, set up an action to specify which color mode you'd like the Conditional Mode Change command to convert your images to. This tutorial is a single movie from the Up and Running with Photoshop Automation course presented by lynda.com author Rich Harrington. The complete course is 2 hours and 37 minutes and shows how to utilize actions and automation in Adobe Photoshop and Bridge to speed up your workflow.

• Introduction • 1. Understanding Actions • 2. Automate Commands • 3. Using Scripts • 4. Saving Time with Adobe Bridge • Conclusion Follow Me on or Start a. Because your time-lapse shoots will result in a lot of data, it's important to consider data storage options. This tutorial explores data storage solutions for both desktop and mobile setups, and explains the importance of redundancy, security, and preventing data loss.

This tutorial is a single movie from the Creating Time-Lapse Video course presented by lynda.com author Rich Harrington. The complete course is 3 hours and 27 minutes. Get on-location tips and post-production techniques to speed up time and create compelling visual effects with time-lapse photography.

Follow Me on or Start a. In this tutorial, find out how to create a customized web gallery in Adobe Bridge. Bridge is a huge timesaver and one of the mot overlooked apps in Adobe Creative Cloud and Creative Suite. This a single movie from the Up and Running with Photoshop Automation course presented by lynda.com author Rich Harrington. The complete course is 2 hours and 37 minutes and shows how to utilize actions and automation in Adobe Photoshop and Bridge to speed up your workflow.

Introduction 1. Understanding Actions 2. Automate Commands 3. Using Scripts 4. Saving Time with Adobe Bridge Conclusion Follow Me on or Start a. I love timelapse photography. And here's my new class all about the topic!

Get the class here – Learn how to speed up time and create compelling visual effects with time-lapse photography. Join Rich Harrington in the field as he captures nature's patterns at Red Rock Canyon in southwestern Nevada, and shows how to frame your scene and choose the proper camera settings. He'll show you how to capture great images, whether you're using a DSLR camera and a motorized slider or just a smartphone you have handy. Then join him back in the studio to transform your still footage into a storytelling time-lapse video, using tools like Photoshop, Premiere Pro, and Final Cut Pro. Topics include: • What is time-lapse photography? • Why shoot with a still camera? • Choosing a frame size and frame rate • Using an internal or external intervalometer • Selecting a memory card • Tracking the sun's position • Deciding how long to shoot • Using a slider • Shooting time lapse on a smartphone or tablet • Removing noise and spots with Adobe Camera Raw • Importing the image sequence • Refining the duration and frame rate • Blending frames • Creating variable speed effects • Exporting your sequence • Get the class here – Start a.

This Motion Control 3D tutorial shows how to create believable depth by adding ambient light to an animated photo in After Effects. This tutorial is a single movie from the ninth chapter of the Motion Control 3D: Bringing Your Photos to Life in Three Dimensions course presented by lynda.com author Rich Harrington. The complete course is 1 hour and 40 minutes long and reveals how you can transport your photos into a three-dimensional world using the Motion Control 3D plugin for Adobe Photoshop and After Effects. I am super passionate about panoramic photography. And here's my new class all about the topic! Do not let another breathtaking scene go undocumented.

Learn how to capture wide landscapes using panoramic shooting techniques, whether you're using an iPhone or a professional DSLR. Rich Harrington explains general panoramic concepts, like field of view and nodal point, and then describes the technical details for getting great original shots: how to properly mount the camera on a tripod, how to overlap each shot, which lenses deliver best results, and more. Next, learn about optional hardware like the GigaPan system and sliders, and a variety of mobile apps for capturing 360 panoramas. Finally, come back into the studio to learn how to process the photos in Adobe Photoshop, Lightroom, and Camera Raw. Topics include: • Choosing your gear • Compensating for the nodal point • Stitching in camera • Leveling the camera platform • Locking exposure and focus • Shooting with the GigaPan system • Shooting HDR panoramas • Shooting with an iPhone • Managing data from a panorama shoot • Reducing noise and removing dust with Camera Raw • Initiating the Photomerge command • Blending the photos • Refining highlights and shadows • Saving panoramas for print and the web Start a.

A Photoshop tutorial describing how to use the Color Range command to select a portion of your image based on color. Watch more at This specific tutorial is just a single movie from chapter five of the Practical Photoshop Selections course presented by lynda.com author Rich Harrington.

The complete Photoshop course has a total duration of 1 hour and 8 minutes, and discusses the importance of making precise selections with the right tools, whether you are masking, or making basic tone adjustments. Can be a daunting task. The Adobe suite of video tools provides a wide array of choices, but how do you know which to use? This course aims to answer that important question. By providing an overview of the import process, and then moving into Premiere Pro, After Effects, and popular third-party keying tools, author Rich Harrington guides you through the keying process.

Learn how to use the Ultra Keyer, KEYLIGHT, Primatte Keyer, zMatte, and more, while discovering ways to work with transparency and create great backdrops in Photoshop. This course was created and produced by Rich Harrington. We're honored to host this material in our library. • Topics include: • Deciding where to key your footage: Premiere Pro or After Effects • Importing footage to key • Stacking layers in Premiere Pro • Using the Ultra Keyer • Using Keylight • Enhancing a key with 3D lights • Deciding when to use a third-party tool • Processing backdrops in Photoshop • Exchanging transparency data Check out the class here – A Sample.

This motion graphics tutorial shows how to create interesting abstract backgrounds for your effects by filming liquid pours and ink chambers in a live-action studio. This tutorial is a single movie from the Practical Motion Background Workshop course presented by lynda.com author Rich Harrington. The complete course is 1 hour and 25 minutes long and shows how to capture footage of everyday objects and combine it with effects in popular postproduction tools like After Effects and Premiere Pro, resulting in rich, abstract backdrops for your project. A Photoshop tutorial exploring how to use the Refine Edge command to select a complex object such as hair. Watch more at This specific tutorial is just a single movie from chapter four of the Practical Photoshop Selections course presented by lynda.com author Rich Harrington. The complete Photoshop course has a total duration of 1 hour and 8 minutes, and discusses the importance of making precise selections with the right tools, whether you are masking, or making basic tone adjustments Start a. Are you looking for a no-brainer deal?

Come to and get a full free year of Adobe Creative Cloud. That's attend one of the world's best conferences for $598 (before August 2) or $698 (Full Conference Registration) and get a $599 value of the best software on the planet for designers, photos, and video pros. That's some pretty easy math. Attend the show this year held in Las Vegas, September 4-6. The show of douse covers Photoshop and Lightroom, but you'll find coverage on other apps in the suite as well (I'm teaching about digital publishing and video).

To register for Photoshop World, visit. Rich Harrington has a very special guest on this week’s show. We’re joined by from Adobe.

He’s the Senior Product Manager for Adobe Photoshop and works on many of the projects that Adobe builds for photographers. What many don’t know is that Bryan has an extensive career in photography as well and that he’s written a handful of books and to share his love of photography and photo restoration. This week show answers a ton of questions about how Photoshop gets made. You’ll learn how Adobe creates dramatic advances that benefit photographers worldwide. Rich and Bryan discuss: • How features in Photoshop are designed and built • What are the most useful ways to make a selection in Photoshop • The new mantra – save time and get better results • Why there are so many “magic” tools • How new users can better learn photoshop? • Breathing new life into old commands and making the application better • Why and when do features get cut • Tips for editing black and white photos with Lightroom and Photoshop • Working with bracketed photos and 32-bit images in Adobe Camera Raw • How many content aware tools are there?

• Content aware tips and tricks • How do remove lens flares using content aware fills • What is the adaptation setting in the content aware commands • How do Creative Cloud updates affect subscribers • How Photoshop and Lightroom are complimentary • What are some of the best features that people seem to miss • How to selectively sharpen your photos • Using Camera Raw with TIFF and JPEG files • How to remove lens distortion from all photos (even those from a phone) — Please post a review for the Podcast on iTunes —. I’ve put together a complete lesson on creating High Dynamic Range panoramic photos. This video tutorial walks you through a few different tools to try out. I’ll show you how to: • Organize multiple HDR photos • Use Photoshop’s built-in toolset • Use Adobe Camera Raw to pre-process raw files before the merge • Align images and reduce noise and ghosting • Create a batch process with • Enhance images with tone maps and fusion • Browse preset looks to find a good starting point • Choose the right bit depth • Repair white balance issues • Stitch the panoramic photo with Photomerge • Enhance with a Curves adjustment • Crop to a finished size • Fill in gaps in the photo Check out for more photo news and inspiration. If you shoot architecture or panoramas, you’ll often shoot wide angle. This can lead to an unwanted fisheye effect. Whether you’re shooting one exposure or stitching several, fixing the problem is stone cold simple.

Learn how to use the Adaptive Wide Angle command in Photoshop to repair perspective issues in your photos. This is a fast and easy way to get better landscapes and architectural shots. Give me 2 minutes and I'll give you better looking photos. Check out for more photo news and inspiration. Adobe quietly released new features today for Adobe Premiere Pro and Adobe Prelude that increase production flow efficiency and editing finesse and will be available immediately for all Creative Cloud users. The complete list of newly added features in this update is: • Duplicating a title in a sequence creates a new, unique title, which can be independently edited from the original.

• Lift and Extract can be used when only an In or Out point is set (if only an In is set, Lift/Extract will use the end of the sequence as the Out point; if only an Out is set, the beginning of the sequence will be used for the In point). • Copy, Cut, and Clear commands work between In and Out points on targeted tracks when no clips are selected. • When a sequence is loaded in the Source Monitor, keyboard shortcuts can be used to navigate to edit points (Up/Down keys by default). • Keyboard shortcuts can be used to clear In/Out points on clips in the Project Panel.

• The Enable Clip command now works as a toggle when multiple clips are selected, such that any disabled clips become enabled and vice versa. • The Match Frame command will prioritize a selected clip over a targeted track. • The Relink command can now be used on a sequence containing offline media. • The Export EDL dialog now contains the option to include or exclude Transitions and the Key Track. • The Reveal In Project command now works from the Source Monitor.

• A preference has been added to select whether or not playback jumps to the beginning of the Timeline or a Clip once the end has been reached. • A button has been added to the Timeline Panel to globally Link or Unlink all clips in the sequence. • An assignable keyboard shortcut has been added to enable toggling between the Source and Program Monitors. • The Reveal In Finder command can now be used on clips in a sequence. • A default start timecode value for all new sequences can be set in the Timeline panel.

• Clips can now be dragged from the Finder or Explorer directly into the Source Monitor. • The Match Frame command now works on Nested or Multi-Camera Source Sequences, first matching to the source sequence, then stepping back further to the original master clip used in that source sequence.

• Offline audio clips are now displayed in red, matching offline video clips. • The Source Settings dialog can be accessed by right-clicking on Clips within the Timeline Panel. • A preference has been added to allow the Timeline Panel to be automatically focused after an Insert or Overwrite edit is performed. • The Auto-Save dialog is suppressed during editing, and auto saves will not occur if no changes have been made to the project. • The Tone Settings dialog allows users to set the amplitude and frequency of the Bars and Tone synthetic clip. • Closed Captions are displayed on thumbnails in the Captions panel.

• Options have been added to the Automate To Sequence dialog for Still Clip Duration, giving control over whether still clips use the In/Out range or a specified number of frames per clip (for timelapse workflows). More information is available in the Be sure to visit for more on Adobe's pro video tools.

This article is from the new website — The latest version of Adobe Premiere Pro CC adds some real power under the hood. When it comes to export your final project, you can often take advantage of Smart Rendering.

To use this feature is pretty simple. • Use a media format that supports smart rendering. • Put that media into a a sequence with matching settings. This is easy to do by simply right-clicking on a clip and choosing New Sequence From Clip. • Export to a self-contained file that matches the same format. This can be done by checking the Match Sequence Settings box in the Export dialog. Additionally, if you’ve gone the extra step of setting up a sequence and set the preview format to matches the source material, you’re in luck.

Just choose the 'Use Preview Files' option an Adobe Premiere Pro will also attempt to smart render the preview files during export. Whenever possible, Adobe Premiere Pro will query each asset during the export. It will check to see if the asset can be smart rendered. If it can, then the app will use it. If not, then regular rendering kicks in. The good news is that Smart Rendering is fairly automatic and if you work with a primary format that’s supported, you can see some real gains in productivity. These formats are supported: • DV • DVCPRO • DVCPRO HD • XDCAM HD (in OP1a MXF format) • XDCAM EX (in MP4 within BPAV folder structure) • AVC-I (in OP1a MXF format) • DNxHD (in OP1a MXF format) • DNxHD (in QuickTime) • ProRes (in QuickTime) • Animation (in QuickTime).

Here is a recording from the Tiffen Webinar I did. Greenscreen has become an essential tool in modern video, film, and photo workflows. To succeed, it needs to be the perfect combination of production and post. This webinar features visual FX industry veteran Marco Paolini and Motion Graphic Designer and Editor, Rich Harrington. Gps Garmin Etrex H Vista. You'll learn how to shoot footage and photos to produce better keying footage (particularly the need for quality lighting) as well as on-set advice to follow.

With Digital Film Tool software products, you'll learn how to use additional tools for those times when you need a key, but there's no greenscreen to be found. This workshop will teach you techniques that work with any post workflow and also gives you a quick start on successfully keying with zMatte. You can download a free 15-day trial here: Take 30% off with this unique code: RHEDDFX13 It can be redeemed here. Here is a recording from the Tiffen Webinar I did.

We discussed working with Variable ND Filters, Reflectors, LED lights, Portable Lights, and More. Get production techniques as well as postproduction tips for digital effects to enhance the lighting (or even relight) during the edit. You can download a free 15-day trial here: Take 30% off with this unique code: RHEDDFX13 It can be redeemed here: Don't miss “How to Key Almost Anything. Greenscreen Solutions for Video and Photo Pros” Register for free —. Production to Post Series- Great Lighting in Production and Post Join special guest Richard Harrington and learn about great lighting techniques.

Rich will review how he uses Lowel lights as part of his production package. Other tools like Variable ND filters, reflectors, and more to control the light.

Learn studio and on location lighting techniques for best results. Once the shot is done, you'll learn how to enhance lighting (and even change it) in post with the DFX lighting filters. This is a popular webinar, click here to reserve your space! Registration Link for June 5 th. If you’re looking for a creative way to tint your images, use After Effects.

The versatile Tritone effect goes well beyond the typical sepia tone effect, as it allows you to treat highlights, midtones, and shadows separately. In addition to simple tints, you can use the filter to create stylized looks. • Select a clip in the After Effects timeline. • In the Effects panel, type Tritone. Drag the effect onto a video clip.

• Press the E key to reveal the effect on that layer, and then double-click on the effect called Tritone to open its controls in the Effect Controls panel. • Click on the Midtones color swatch to open the Color Picker. Choose a color to map the midtones to.

• Click on the Highlights color swatch to open the Color Picker and select a brighter color for the highlights. • Remap the Shadows color swatch. • Use the Blend With Original slider to mix the original state with the new color effect. For more Adobe tips, check out. As you work in the timeline or source window, you’ll come to rely upon In and Out points to accurately edit.

These two points can clearly define which part of a clip you want to use, what section of the timeline you want to replace, or where to remove footage. Here are the most essential editing shortcut commands: • In—Press I to add an In point. • Out—Press O to add an Out point.

• Clear In—Option+I (Alt+I) to clear an In point. • Clear Out—Option+O (Alt+O) to clear an Out point. • Clear In and Out—Option+X (Alt+X) to clear both an In and Out point • Go to In—Shift+I to go to an In point • Go to Out—Shift+O to go to an Out point • Lift—Press; (semicolon key) to remove the media between the In and Out point and leave a gap. • Extract—Press ‘ (apostrophe key) to remove the media between the In and Out point and close the gap. For more Adobe tips, check out. June 5th 12pm EST Production to Post series with Richard Harrington Join special guest Richard Harrington again and learn about great lighting techniques. Rich will review how he uses Lowel lights as part of his production package.

Other tools like Variable ND filters, reflectors, and more to control the light. Learn studio and on location lighting techniques for best results. Once the shot is done, you'll learn how to enhance lighting (and even change it) in post with the DFX lighting filters. This is a popular webinar, click here to reserve your space! Special Discounts Thank you again for attending our Color Grading Webinar last week.

We thought it rocked and we hope you enjoyed our event! As a special thank you to you lucky folks, we'd like extend a 30% discount off our newly lowered priced individual Dfx products. And to make it even more special, we extend the courtesy to discount the DFT product- FilmStocks Video Plug-in at 20% off. Please visit: and enter promo code: RHEDDFX13 to get 30% Off the purchase price, but hurry - offer expires on May 24th!

If you own an earlier version of Tiffen Dfx software you may be eligible for a heavily discounted upgrade price. Please visit: Please send your questions, comments and feedback to:jnoyes@tiffen.com. PS to see a recorded version- please check our Tiffen YouTube channel. Video editing is often a collaborative process. You may need to work with someone else’s editing project that was started using Final Cut Pro. Adobe Premiere Pro is a very flexible editing solution.

You can easily import projects and media started on other edit systems. For example, moving a project over from Apple Final Cut Pro is a snap. • In Final Cut Pro, mark an In and Out point within a sequence for the range you’d like to export. • Choose File >Export >XML. In the dialog box that opens, choose Apple XML Interchange Format, version 4 (or later), and click OK. • Specify a location for the new XML file (such as your project folder) and click OK.

The XML file is small and references the original media on your drive. It will only take a few seconds to write. • Switch to Adobe Premiere Pro and create a new project using a preset that most closely matches the video format you’ve been using. • In Adobe Premiere Pro, choose File >Import. Navigate to the XML file you created and click Import.

• Adobe Premiere Pro creates a sequence and adds the media and a report to the project. • Update the edit or work with the imported project sources. For more Adobe tips, check out. This tutorial reviews the new supported file formats and codecs in Premiere Pro, including ARRIRAW and ProRes.

This tutorial is a single movie from the Premiere Pro Technology Preview course presented by lynda.com author Rich Harrington. The complete course duration is 2 hours and 7 minutes long and explores the features that are designed to get video producers and editors excited about the online subscription version of Adobe Premiere Pro.

Introduction 1. User Interface Improvements 2. Extending the Power of Premiere Pro 3. Quality and Format Improvements 4. A Better Timeline Panel 5. Project and Media Management 6.

Improved Effects Workflow 7. Improved Audio Workflows 8. Improved Multicamera Workflows 9. Improved Closed Caption Workflow 10. Improved Export Controls Conclusion. Creative Color Grading – Fast!

Learn how to approach color grading tasks from production to post. Learn important techniques about what to shoot in the field including camera profile, white balance information, and essential metadata. Then in post you'll learn how to create popular looks that clients want. This will explore both general techniques and theory as well as a detailed look. • Each attendee will receive a 15 day trial as well as a special discount on the software.

• One lucky attendee with receive a give-away of a full license of the software • To register for Creative Color Grading Webinar. When it comes time to edit your video, the hard drives you use are going to have a huge impact on the performance of your system. No matter how much RAM you have or how powerful a video card, you won’t get real-time performance if your drives are a bottleneck. Important factors There are three factors when choosing a disk for video editing: • Speed: The speed of drive is the most important factor in determining what media you can play off it. Drives like internal laptop drives or bus-powered USB drives are generally not fast enough to edit HD video.

• Capacity: When you start to edit HD video, you’ll quickly use up disk space. For example, each minute of video shot on a Canon 5D Mark II is about 320MB. In order to get the storage you need, you may invest in multiple drives or drives that are striped together for a performance RAID. • Redundancy: To avoid losing their video footage, most video creators choose to back up to two or more drives or to use additional methods like Blu-ray Disc. Look at redundant drives (such as RAIDs) Drive technology Be sure to consider your options when looking at hard drives. • Internal drive solutions: Many computers support multiple drive slots. Consider placing a fast SATA drive internally into your computer as a performance disk.

Keep it only as a scratch disk and avoid installing application or system files on it. • External and portable drive solutions: Several different drives are available once you’ve maximized your internal storage. You’ll find both single- and multiple-drive solutions. Look for units offering connections like FireWire, USB3, or eSATA. • Networked RAIDs: Several professional drives allow multiple users to connect simultaneously. These solutions are important if you work in a multiple editor environment and need to share projects or assets.

For more on Adobe pro video workflow, check out the new website —. I have a great discount to offer my readers on one of favorite tools. I love using their collection to create fantastic film looks. You can download a free 15-day trial here: Take 30% off with this unique code: RHEDDFX13 It can be redeemed here: Here ares two tutorials I did that shows the effects in action. One of the things I like the best is that one license gets you a tool that works in every major video editing and motion graphics package. It's also fantastic when working with photos. I also have a few new webinars coming soon on the software.

Simple Mask This plugin allows to create a simple alpha mask on the source clip and composite it with the existing alpha channel by adding, subtracting or intersecting. Both rectangular and elliptical shapes are supported. They can be repositioned and rotated.

Downloads: • Windows: • Mac: Vignette This plugin allows to create a vignette on the source clip. Both rectangular and elliptical vignettes are supported. Vignettes can be repositioned and rotated, applied in any color and blending mode available, to the inside or to the outside. Alternatively only the mask can be rendered, replacing the source layer altogether or the vignette can be filled with transparency. Downloads: • Windows: • Mac. I'm speaking at a conference offering training for sports TV & post professionals. I hope to see some of you there.

Two full days of expert training sessions for video, TV, film & new media professionals, with a unique track 2-day track dedicated to technical workshops geared for Sports TV production. The is designed for professionals involved in the acquiring and designing of TV content who seek cutting-edge training to maximize their efficiency and creativity: •Motion Graphics Designers •Technologists •Facility Managers •DP's •Photographers •Producers •Editors Features: • 2 full days of expert training in: general post production and Sports TV production • In-depth sessions for deep immersion in the editing application of your choice! • Sessions taught by industry renowned and Certified Instructors • Browse the Exhibition Show Floor and network with industry professionals at the located at the hotel • Gain tips and techniques you can apply to your very next project. From Slides from my Photoshop World class enjoy In this session you learn how tools like Apple iBooks Author and Adobe Creative Cloud make it easy to publish your images and creative work. Whether you want to distribute your photos or do work for your clients the topic of digital publishing has never been hotter. This class serves as a jump in point for those who want to start to create digital publications and applications.

No coding experience required, this is all about using easy tools and new business opportunities. If you’ve always wanted to publish that book, or reach a whole new audience, this is the session for you. This tutorial shows how merge and sync clips using audio in Premiere Pro.

This tutorial is a single movie from the Premiere Pro Technology Preview course presented by lynda.com author Rich Harrington. The complete course duration is 2 hours and 7 minutes long and explores the features that are designed to get video producers and editors excited about the online subscription version of Adobe Premiere Pro. Introduction 1.

User Interface Improvements 2. Extending the Power of Premiere Pro 3. Quality and Format Improvements 4. A Better Timeline Panel 5. Project and Media Management 6. Improved Effects Workflow 7. Improved Audio Workflows 8.

Improved Multicamera Workflows 9. Improved Closed Caption Workflow 10. Improved Export Controls Conclusion Follow Me on. Adorama Photography TV Presents DSLR Video Skills with Rich Harrington.

In the second episode of this three-part series, we continue with the all-RAW workflow in post-production. Join Rich as he shares some tips on how to develop and finesse the RAW files using Adobe After Effects. He will show you techniques such as adjusting the scale of the files before using Bezier handles for creative looking movement.

Related Episodes: Part 1 Time-Lapse: RAW Workflow: Ep 125 DSLR Video Skills with Rich Harrington: Adorama Photography TV Time-lapse Gear: DSLR Video Skills Time-Lapse: Organizing: DSLR Video Skills Time-Lapse: Developing: DSLR Video Skills. NOTE NOTE NOTE NOTE NOTE: The Photofocus Podcast Feed HAS CHANGED! Here is the new feed: or Rich takes a deep dive with Adobe Photoshop Lightroom product manager Sharad Mangalick. Topics include: • Learn about all the new features in Lightroom 5 Public Beta • How can you try Lightroom out for free? Adobe Labs link for Lightroom 5 Beta - • Why does Adobe offer public betas? • How can you give feedback. Forum specifically created for customers to provide feedback on Lightroom 5 beta - • What else is in the new app? Lightroom 5 beta resource list — • Where can you get video tutorials?

Lightroom YouTube channel - • Connect with Adobe on social media: • Facebook - • Twitter - • Follow Sharad directly Hosted by Rich Harrington _______ This Post Sponsored by: Learn photography anytime, anywhere, and at your own pace—from bite-sized tutorials to comprehensive courses. Try lynda.com free for 10 days by visiting. Check out new ways to use High Dynamic Range photography to make compelling images. Free tutorials and posts to get results. Produced in partnership with.

Open up a world of creative possibilities with a seamless, integrated workflow. You don't need to be a Photoshop wizard to look like one. Click and use the code photofocus to get a 15% discount.

The revolutionary GigaPan EPIC robotic camera mount lets you capture and combine thousands of images into one incredible, interactive panorama. Save 10% with the code PHOTOFOCUS. - Not only is Drobo 5D fast, but it’s easy-to-use, expandable, flexible, and protected. I'd like to share a few things from Adobe about the new Photoshop Lightroom Public Beta Radial Filter Busy backgrounds or bright colors can distract viewers from the focal point of an image.

Photographers may try to reduce the distraction by cropping an image, but this can result in the loss of interesting detail and balance. Another approach to focusing the viewer’s attention is to create a vignette effect, but this only works if a subject is in the center of an image.

The Radial Gradient tool in Lightroom 5 now offers photographers more flexibility and control in how they guide a viewer’s eye to emphasize the important parts of an image. Using this tool, photographers can create off-center vignette effects or multiple vignette areas in a single image. This local adjustment control lets photographers minimize distractions and focus a viewer’s attention exactly where it should be. Find out how to sync audio with waveforms automatically in Premiere Pro. This tutorial is a single movie from the Premiere Pro Technology Preview course presented by lynda.com author Rich Harrington. The complete course duration is 2 hours and 7 minutes long and explores the features that are designed to get video producers and editors excited about the online subscription version of Adobe Premiere Pro. Introduction 1.

User Interface Improvements 2. Extending the Power of Premiere Pro 3. Quality and Format Improvements 4. A Better Timeline Panel 5. Project and Media Management 6. Improved Effects Workflow 7. Improved Audio Workflows 8.

Improved Multicamera Workflows 9. Improved Closed Caption Workflow 10. Improved Export Controls Conclusion. While visiting the National Association of Broadcasters Conference in Vegas, Adobe had a huge booth. At it, they showed the (such as Adobe Premiere Pro, After Effects, and SpeedGrade). While they didn't promise a release date, the likelihood was definitely stated as 'soon.'

Which should mean major updates to all their tools can't be far behind. If you want to see a detailed overview of Adobe Premiere Pro —. Adobe offered a special deal that is only good for a few days. Save 40% off a year of Creative Cloud (which drops it to ). This offer can be used by anyone (even if you don't own a qualifying upgrade product). I strongly suspect this will be the best deal offered this year.

Remember, a few key facts about Creative Cloud. • You get every Adobe Creative software tool.

Adobe Premiere Pro, After Effects, Photoshop, Prelude, SpeedGrade, Encore, Story and more. • You get tools like Digital Publishing Studio, Acrobat, and Muse for creating apps, PDFs, and websites.

• You always have the latest version installed on your drive. These do not run in the cloud, the apps are local just like before. • You get 20GB of Cloud storage and other cloud benefits that keep rolling out. • You get a professional account to build portfolios and search for jobs. • You get updates sooner with no need to wait. So if you're sitting on the fence, consider It expires April 19. There's been a lot of hullabaloo on the Internet about Adobe discontinuing the Creative Suite.

Many sites are reporting that Adobe is getting rid of Creative Suite altogether. Here's the official statement from Adobe's FAQ about the discontinuation of physical media (aka shiny discs). Why is Adobe discontinuing boxed copies of Creative Suite and Acrobat?

As Adobe continues to focus on delivering world-class innovation through Creative Cloud and digital fulfillment, we will be phasing out shrink-wrapped, boxed versions of Creative Suite and Acrobat. Electronic downloads for Creative Suite products will continue to be available – as they are today – from both, as well as reseller and retail partners. So the real deal is that physical media is being discontinued. Same thing Apple did to all of its software packages.

The Creative Suite is not discontinued. This is a misunderstanding (and one that I personally verified with Scott Morris, the Senior Marketing Director, Creative Cloud & Creative Suite). Morris assured me that CS6 will continue to be sold with a perpetual license. “Adobe is not discontinuing CS6. We are just discontinuing the shipment of physical boxes with physical DVDs, and will instead offer the products as ESD (electronic software download) only, or through Creative Cloud,' said Morris. “This change does not affect the availability of Adobe's perpetual products, just the delivery medium – in the same way that most music is delivered online now, instead of via a physical CD.” So there you have it. You can still buy Creative Suite.

If you want to. Though I personally think the Creative Cloud is a much better deal. I just released a new book all about HDR Photography with my buddy Scott Bourne. If you would like to learn more about high dynamic range (HDR) photography, check out my new book for Apple iPad. It’s called “.” It’s only $2.99 and covers all the essentials. We’ve written this book with a simple goal. We want to share our love of “tasteful” HDR photography.

While there are fans of extreme HDR, we prefer a more subtle approach. We couldn’t find any books on this more realistic approach to HDR so we wrote one!

Free codes are sprinkled into this article. Redeem on the front page of the iTunes Store by cocking the Redeem link in upper right corner). A code can only be used once. First come, first served. From the intro. Why Shoot HDR?

While it may seem like a silly question, there are actually several reasons to shoot HDR. We personally don’t ever shoot a landscape or a cityscape without also shooting it in HDR. It solves so many problems and it’s better safe than sorry. Our personal approach is often far more reserved than some photographers. Generally speaking we prefer HDR photos that are closer to what the eye can see. Our goals are generally tasteful and subtle.

FREE CODE 1: 3R3WRFL6AKJ3 However, how much HDR to use is a personal choice. There are lots of opinions on what’s acceptable and that’s a good thing. The techniques used by all HDR shooters can be adapted to most styles of shooting with both aesthetic and technical benefits.

FREE CODE 2: YF6XP7WFHN67 iPad Only? The book is only available for iPad owners. This is necessary in order to take advantage of all the interactive features available in iBooks.

Our update includes a whole chapter on post-processing with 12 video tutorials. That’s right – this is a book but it contains video training. There are even quizzes so you can make sure you’ve read and understood the material.

We’re very excited about this book because it uses all the tools available in Apple’s iBooks Author to create a fully interactive experience. You’ll not only be able to read the text, but you’ll find video, audio, motion graphics and more. We will continually update the book and the great thing about Apple’s iBooks is that we can push those updates to buyers free of charge. FREE CODE 3: WXJ3FTX69K44 You can get more information about the book and a link to purchase it here on the.

FREE CODE 4: LEK73YHWHWJR. I originally posted this over at be sure to check it out. Photofocus is the most comprehensive photo site on the web with daily news and a kick ass (if I do say so myself). Photoshop has a long history of tiny Easter Eggs hidden inside the app little jokes left over by the programmers. There's a new one tied to the shades of the user interface.

How dark are the elements around the screen? Currently the chips look like this. But you can change how they look Choose: • Photoshop >Preferences >Interface. (Mac) • Edit >Preferences >Interface. (Windows) You'll find the Easter Eggs this way • Shift + Opt + Cmd + click on a gray chip = Bread (Mac) • Shift + Alt + Ctrl + click on a gray chip = Bread (Windows) or like Coffee.

Just repeat the process and click again. Head over to for more, great resources. Joining us this week is professional colorist Robbie Carman (www.amigomediallc.com) as he shares practical advice and inspirational techniques. Robbie's job is to enhance the visual appearance of television programs and films. He refines the visual appearance of images for both aesthetic and technical reasons.

In this episode you'll learn about professional video, color theory, and client relationships. On this show you'll learn: • What is a colorist • How do you train to enter the high end of the video market • The impact of color and contrast on the human brain • What tools and technology are useful for pro video workflows • How to keep large volumes of digital assets safe • What software is useful for coloring video and photos • How to recharge your creative batteries and find inspiration • The link between music and visuals • Lessons learned Be sure to and get every free episode. There's one event I've attended every time since 1998 the. This is a great opportunity to learn and network with top video professionals. It's a firehose of information set in a beautiful location. And I have a deal for you. When you register tell them I sent you.

And you'll save $200 on the cost of signing up. An intensive, interactive environment for TV, video and film editors that fosters creativity and the exchange of ideas at the highest level. Featuring: • Five Days of Sessions in Multiple Tracks. • Award-Winning Keynote Speakers. • Daily Social Networking with Experts. • Numerous Prizes.

Now in its eight year, the Editors Retreat has become an annual gathering for the post-production elite. Highly experienced editors from the worlds of film, TV and video come together to network, exchange ideas, share tips and of course, have fun! To ensure that only the best of the best attend, participation is subject to an application and screening process. Running for 5 days and 4 nights, the Editors Retreat offers advanced sessions on post, visual and audio techniques and features valuable insight into emerging trends and technologies. An equal amount of time will be devoted to discussing the creativity, craft and business practices of successful editors. Past keynote attendees have included such names as Alan Heim, Sally Menke, Stuart Bass, Chris Franklin, David Helfand, Dan Lebental and Maysie Hoy.

Other Retreat alumni include representatives from HBO, FRONTLINE, MTV, Lockheed Martin, Harpo Productions and Telemundo, as well as Apple, Avid and Adobe experts. You probably know I have a ton of classes over at Lynda.com on photography, video, and business.

What you may not realize is that you can try them all for free (or even watch them all if you want to give up bad network TV for a week or so). Over at my photo blog (Photofocus) we have a unique offer. With a membership trial.

That deal is available know where else. The fine print: You’ll get 10 days of free unlimited access to lynda.com. We’ll ask for your billing information, but you won’t be charged unless you continue with a paid membership after the trial.

Your membership will include access to all 1,601 lynda.com courses. Choose a premium membership for downloadable exercise files that let you work along with the instructors. I'm super excited to be speaking at the official Adobe conference this year.. To start things off, don't miss my shooting pre-conference session.

Shooting and Editing Footage from DSLR Cameras The use of DSLR cameras to shoot video has skyrocketed. Learn from Photoshop and Adobe Premiere Pro Certified Instructor Rich Harrington as he introduces you to DSLR shooting and helps you put all the pieces together in post-production using Adobe’s powerful software. This all-day lab will: • Introduce you to the entire process of shooting DSLR videos • Teach you important planning and shooting techniques • Show you how to edit and stabilize footage and make it look better in Adobe Premiere Pro and Photoshop Link: I have some cool new classes I am going to be teaching. Creating Motion Graphics for the Web Date: Monday5/6/13 Time:17:00 - 18:30 Creating Motion Graphics for the Web Date: Monday5/6/13 Time:15:30 - 16:30 Creating Motion Graphics for the Web Date: Wednesday5/8/13 Time:11:00 - 12:30 Motion Control 3D: Bringing Photos to Life in Three Dimensions Date: Wednesday5/8/13 Time:9:30 - 10:30 Adobe MAX 2013 L.A.

Convention Center & Nokia Theatre L.A. LIVE May 4 - 8, 2013 Registration Pricing • Early Bird - $1,295 (Nov 1 - Feb 28, 2013) • Regular Pricing - $1,495 (Mar 1 - May 3, 2013) • On-site Pricing - $1,695 (May 4 - May 8, 2013). I've got a 'free workshop' at Adorama on January 27, 2013.. It costs $25 to hold your spot (seating limited) but you get a full refund by way of a $25 gift card for the store (which you can sip at before or after the class). Get Started Editing Video with Adobe Photoshop CS6Sunday, January 27, 2013 12:30PM - 4:30PM Event location: The Adorama Building, 42 West 18th Street 5th Floor Event Description:With the release of Photoshop CS6, Adobe introduced the ability to edit video footage. Come along with AdoramaTV's Richard Harrington as he guides you through this brand-new workflow, from building a sequence to working with audio and exporting your video in a variety of high-quality formats.

Learn how Photoshop’s strongest feature, its image enhancement toolset, translates over to video, from fixing under or overexposed footage, performing color balancing, and adding vibrance and contrast to special effects, such as converting to black and white, and using Smart Filters to soften skin. Topics to be discussed include: • Understanding the video file formats supported in Photoshop • Controlling playback in the Timeline • Building a sequence • Organizing and editing A-roll and B-roll footage • Adding transitions, adjusting volume, adding music • Color balancing a shot, adjusting contrast • Adding a lower-third graphic and animating text • Exporting to H.264 or QuickTime Requirements:Skill level: Intermediate You should be comfortable with and have a working knowledge of Adobe Photoshop (no beginners please), but a novice with video is okay.

Bring your own laptop (can be Mac or PC) if you want to follow along, and make sure it is fully charged as there won't be enough wall outlets for charging. Please make sure to bring headphones to listen to audio through your computer if you intend to edit along with Richard—this is a must. Install Photoshop CS6 or load the 30-day demo prior to class. Practice footage that will be used during the class will be provided to registered attendees through an email with a download link—this will be sent to the email you register with a few days before the event, please make sure and check for it and download it before the event.

This Photoshop tutorial explains the concept of resolution when it comes to video graphics, and how pixels per inch, or PPI, translates to fixed format resolutions like 1080p or 720p. This tutorial is a single movie from the Photoshop for Video Editors: Core Skills course presented by lynda.com author Rich Harrington. The complete course is 3 hours and 8 minutes long and shows how to use Photoshop to perform typical video editing tasks, like lens correction, color grading, and more.

Follow Me on. Selectively blurring an image can help your viewer find a focal point. Photoshop offers a realistic lens blur that also produces depth-of-field blurring. This allows some objects to be in focus while others fall out of focus.

You can be very specific in regard to the blurring if you make an accurate alpha channel to serve as a depth matte. The depth matte defines how far away things are from the camera.

Black areas in the alpha channel are treated as being the foreground, whereas white areas are seen as being in the distance. 1.Close any open files, and then open the file Lens Blur.tif (available here ) 2.An alpha channel has already been added to the image. It was created using the Calculations command and Quick Mask mode. 3.Make sure the RGB composite channel is selected. 4.Choose Filter >Blur >Lens Blur to run the Lens Blur filter. 5.Choose the alpha channel from the Source menu. You can click the Invert box if you need to reverse the blur.

For faster previews, choose Faster. When you’re ready to see the final appearance, select More Accurate.

6.Adjust the Iris shape to curve or rotate the iris. Photoshop mimics how a traditional lens operates. Even if you are not an experienced photographer, you can twiddle and adjust as desired. 7.Move the Blur Focal Distance slider until the desired pixels are in focus. Additionally, you can click inside the preview image to set the Blur Focus Distance. 8.You can add Specular Highlights by adjusting the Threshold slider. You must set the cutoff point for where highlights occur.

Then increase the highlights with the Brightness slider. 9.Finally, it’s a good idea to add a little noise/grain back into the image. Normally, the blur obscures this, but putting it back in makes the photo seem more natural as opposed to processed. Be sure to also check out the book and video training bundle —.

Cameras are much more likely to generate a soft focus under low light. The Smart Sharpen filter has the most options of any sharpening filter built into Photoshop. It allows you to choose the sharpening algorithm as well as control the amount of sharpening in shadow and highlight areas. This filter can produce dramatically better quality, but do not expect results like you see in a TV police drama. Open the Sharpen1.tif file, available with other sample images in this, and zoom the document window to 100%. This will give you the most accurate view of the sharpening. Choose Filter >Sharpen >Smart Sharpen and select the Advanced radio button.

Click and drag the image in the preview window so you can better see the wood texture. Adjust the controls in the Sharpen tab: Amount. Sets the amount of sharpening. A higher value increases contrast between edge pixels, which gives the appearance of more sharpness. Determines the number of pixels surrounding the edge pixels that will be affected by the sharpening. A greater radius value means that edge effects will be more obvious, as will the sharpening. Allows you to set the sharpening algorithm to be used: Gaussian Blur.

Is used by the Unsharp Mask filter. It works well on images that appear slightly out of focus. Detects edges and detail in an image. It provides finer sharpening of detail and can reduce halos caused by sharpening. Attempts to reduce the effects of blur caused by camera or subject movement. You will need to set the Angle control if you choose Motion Blur.

Set this to match the direction of motion. It’s only available when using the Remove control’s Motion Blur option. More Accurate. Allows Photoshop to spend more time processing the file. It generates more accurate results for the removal of blurring. You can refine the sharpening of dark and light areas—try using the Shadow and Highlight tabs. These controls should be used if you start to see halos in light or dark areas: Fade Amount.

Adjusts the amount of sharpening in the highlights or shadows regions. Controls the range of tones in the shadows or highlights that are modified. Smaller values restrict the adjustments to smaller regions.

Controls the size of the area around each pixel that determines if a pixel is considered a shadow or a highlight. Moving the slider to the left specifies a smaller region; moving the slider to the right defines a larger region. When you’re satisfied, click OK to apply the filter. Be sure to also check out the book and video training bundle —. I know you’ve been busy with the holidays, so you may have missed that a new Adobe Camera Raw plugin was officially released. It is only downloadable as an update through Adobe Photoshop CS6. • Launch Adobe Photoshop.

• Choose Help >Updates. • Run any updates that show up in the Adobe Application Manager by clicking the Update button.

The following cameras are now supported. • Canon EOS 6D • Canon PowerShot S110 • Canon PowerShot G15 • Canon PowerShot SX50 HS • Casio Exilim EX-ZR1000 • Casio Exilim EX-FC300S • Leica M-E • Nikon 1 V2 • Nikon D5200 • Nikon D600 • Olympus PEN E-PL5 • Olympus PEN E-PM2 • Olympus STYLUS XZ-2 iHS • Panasonic DMC-GH3 • Pentax K-5 II • Pentax K-5 IIs • Pentax Q10 • Sony DSC-RX1 • Sony NEX-VG30 • Sony NEX-VG900 Download Links Camera Raw 7.3 – Please use the update mechanism in Photoshop CS6 DNG Converter 7.3. This Photoshop tutorial shows how to animate a logo with the video editing timeline, with a rubber banding technique: setting keyframes at landing places and stretching them out. This tutorial is a single movie from the Photoshop for Video Editors: Core Skills course presented by lynda.com author Rich Harrington. The complete course is 3 hours and 8 minutes long and shows how to use Photoshop to perform typical video editing tasks, like lens correction, color grading, and more.

Introduction 1. Pixels Demystified 2. Preparing a Photo 3.

Creating a Logo Bug 4. Animating a Logo 5. Gradient Wipes 6.

Correcting Lens Distortion 7. Using Actions for Video Workflows 8. Advanced Color Grading and Effects 9. Enhancing Depth of Field 10. The Photoshop/Premiere Pro/After Effects Relationship Conclusion Follow Me on. This Photoshop tutorial shows how to apply a spot color effect to a black and white image with the Lighten and Darken blending modes and the Black & White adjustment's color channels. This tutorial is a single movie from the Photoshop for Video Editors: Core Skills course presented by lynda.com author Rich Harrington.

The complete course is 3 hours and 8 minutes long and shows how to use Photoshop to perform typical video editing tasks, like lens correction, color grading, and more. Introduction 1. Pixels Demystified 2. Preparing a Photo 3.

Creating a Logo Bug 4. Animating a Logo 5. Gradient Wipes 6.

Correcting Lens Distortion 7. Using Actions for Video Workflows 8. Advanced Color Grading and Effects 9. Enhancing Depth of Field 10. The Photoshop/Premiere Pro/After Effects Relationship Conclusion Follow Me on.

A fun technique when shooting water is to go for the long exposure. The water goes silky and becomes great to look. For many, this type of shooting means a solid tripod and a remote release. But what happens if you don’t own those items (or have them with you)? That’s easy improvise. • Put the camera in manual mode and set it on a flat surface like a bench, garbage can, or railing.

• Set your aperture to the smallest aperture you have. • Attach a ND filter if you have one. • Set the timer delay on the camera. This way after you push the button to release the shutter, the camera will wait a few seconds before firing (this will stabilize the shot).

• Turn on in-camera noise reduction. For more photo techniques, check out Photofocus —.

TAP!2013 is about a month away ( ). How'd you like a free taste?

Join President of Bates Creative, Debbie Bates-Schrott as she shares important strategies about integrating apps into your pipeline. If your digital strategy for 2013 include a tablet app the you should check out Adobe Digital Publishing Suite. In this webinar you'll learn how to plan your first app and folio. Planning before action will win you praise from your readers and your internal audiences. Learn from President of Bates Creative Group and TAP! 2013 Keynote Speaker Debbie Bates-Schrott on how to be strategic in planning for this flexible and fluid medium. Save $400 on with the code VIPRH.

I've got a 'free workshop' at Adorama on January 27, 2013.. It costs $25 to hold your spot (seating limited) but you get a full refund by way of a $25 gift card for the store (which you can sip at before or after the class). Get Started Editing Video with Adobe Photoshop CS6Sunday, January 27, 2013 12:30PM - 4:30PM Event location: The Adorama Building, 42 West 18th Street 5th Floor Event Description:With the release of Photoshop CS6, Adobe introduced the ability to edit video footage. Come along with AdoramaTV's Richard Harrington as he guides you through this brand-new workflow, from building a sequence to working with audio and exporting your video in a variety of high-quality formats. Learn how Photoshop’s strongest feature, its image enhancement toolset, translates over to video, from fixing under or overexposed footage, performing color balancing, and adding vibrance and contrast to special effects, such as converting to black and white, and using Smart Filters to soften skin. Topics to be discussed include: • Understanding the video file formats supported in Photoshop • Controlling playback in the Timeline • Building a sequence • Organizing and editing A-roll and B-roll footage • Adding transitions, adjusting volume, adding music • Color balancing a shot, adjusting contrast • Adding a lower-third graphic and animating text • Exporting to H.264 or QuickTime Requirements:Skill level: Intermediate You should be comfortable with and have a working knowledge of Adobe Photoshop (no beginners please), but a novice with video is okay.

Bring your own laptop (can be Mac or PC) if you want to follow along, and make sure it is fully charged as there won't be enough wall outlets for charging. Please make sure to bring headphones to listen to audio through your computer if you intend to edit along with Richard—this is a must. Install Photoshop CS6 or load the 30-day demo prior to class. Practice footage that will be used during the class will be provided to registered attendees through an email with a download link—this will be sent to the email you register with a few days before the event, please make sure and check for it and download it before the event. TAP!2013 is about a month away. How'd you like a free taste? Join President of Bates Creative, Debbie Bates-Schrott as she shares important strategies about integrating apps into your pipeline.

If your digital strategy for 2013 include a tablet app the you should check out Adobe Digital Publishing Suite. In this weboinar you'll learn how to plan your first app and folio. Planning before action will win you praise from your readers and your internal audiences. Learn from President of and Speaker on how to be strategic in planning for this flexible and fluid medium. As you make the switch to Adobe® Premiere Pro, you'll find many ways to get things done. What you may miss are some hidden gems you don’t know to look for.

In this fast paced webinar, join Richard Harrington as he shares the advanced techniques that will speed up your workflow. This webinar is designed for experienced editors who want to jump in and get results. You'll learn at a rapid fire pace and get easy to implement time savers to boost your productivity. Adobe is hosting a special event about Adobe Creative Cloud on December 11, 2012, starting at 10AM PST.

Create Now Live is an online event hosted on Facebook. Be sure to visit the event at You can register here – Why attend? • Be first to find out what’s new in Adobe Creative Cloud, including products and features exclusively for members. • See what’s next in Adobe Photoshop. • Hear from Adobe evangelists and designers, photographers and filmmakers, who are breaking the creative mold. • • Iconic design agency Karlssonwilker talks about taking their unique design sensibility to the web. • • Go behind the scenes of 'A Liars Autobiography: The Untrue Story of Monty Python's Graham Chapman' with Animation Director Justin Weyers.

• • Kelby Media Group CEO Scott Kelby shows off hidden gems in Photoshop CS6. Registration is not required to view the event. Registered participants will receive speaker updates and a promo code for a $300 early bird discount on Adobe MAX 2013. This Motion Control 3D tutorial shows how to analyze a photo and make precise selections with the Refine Edge command in Photoshop.

This tutorial is a single movie from the fourth chapter of the Motion Control 3D: Bringing Your Photos to Life in Three Dimensions course presented by lynda.com author Rich Harrington. The complete course is 1 hour and 40 minutes long and reveals how you can transport your photos into a three-dimensional world using the Motion Control 3D plugin for Adobe Photoshop and After Effects. Follow Me on. Looking for some great, free training about Adobe Premiere Pro? Don't miss this Ask a Video Pro for Switchers Part 2 — Tips & Tricks for Switching to Premiere Pro Thursday, November 8, 2012 at 10 am Pacific Time 1 pm Eastern Time As you make the switch to Adobe® Premiere Pro, you'll find many ways to get things done.

What you may miss are some hidden gems you don’t know to look for. In this fast paced webinar, join Richard Harrington as he shares the advanced techniques that will speed up your workflow. This webinar is designed for experienced editors who want to jump in and get results. You'll learn at a rapid fire pace and get easy to implement time savers to boost your productivity.

Register today –. Looking for some great, free training about Adobe Premiere Pro? Don't miss taught by Robbie Carman and myself. Ask a Video Pro for Switchers Part 1 — Getting Comfortable with Premiere Pro Thursday, November 1, 2012 at 10 am Pacific Time 1 pm Eastern Time Join Robbie Carman as he guides you through the essential aspects of making the switch to Adobe® Premiere Pro. Designed for experienced editors, this webinar will help you get more comfortable and to work faster--allowing you to implement your current editing knowledge quickly. Specific topics will include: starting a project, setting up sequences, accessing essential preferences and keyboard shortcuts, ingesting media, marking and trimming clips in the timeline, and adding audio and effects. If you're new to Adobe® Premiere Pro be sure to check out this webinar to make your transition to this robust software even easier.

Ask a Video Pro for Switchers Part 2 — Tips & Tricks for Switching to Premiere Pro Thursday, November 8, 2012 at 10 am Pacific Time 1 pm Eastern Time As you make the switch to Adobe® Premiere Pro, you'll find many ways to get things done. What you may miss are some hidden gems you don’t know to look for. In this fast paced webinar, join Richard Harrington as he shares the advanced techniques that will speed up your workflow. This webinar is designed for experienced editors who want to jump in and get results.

You'll learn at a rapid fire pace and get easy to implement time savers to boost your productivity. Register today –. This Motion Control 3D tutorial shows how to create believable depth by adding ambient light to an animated photo in After Effects. This tutorial is a single movie from the ninth chapter of the Motion Control 3D: Bringing Your Photos to Life in Three Dimensions course presented by lynda.com author Rich Harrington. The complete course is 1 hour and 40 minutes long and reveals how you can transport your photos into a three-dimensional world using the Motion Control 3D plugin for Adobe Photoshop and After Effects. Follow Me on.

AdoramaTV presents DSLR Video Skills with Richard Harrington. Today, Rich explores different editing techniques to make realistic backdrops for chroma keying. Learn how you can adjust the focal point or the depth of field of your photo by using some of these key tools in Adobe Photoshop CS6. When you have a photo you want to use as a background, sometimes the focal point or the depth of field isn't suitable for using behind your subject when keying a green screen.

In this episode, Rich touches up four photos to use as potential backdrops for his green screen project. By using tools such as the camera lens blur effect, masking, or the blur tool you can make your own custom depth mattes that will work perfectly with your chroma key. Now that the, its in the hands of a lot of users.

Here a re a few guides to get you up and running. Plus you won’t want to miss the in-depth coverage at the Here’s a few resources to get you started •: Create and publish your first iPad app with ease using Digital Publishing Suite, Single Edition. Follow this step-by-step guide that takes you through the whole process — from Single Edition through the Apple App Store. •: Free Digital Publishing Suite Tips app from the Apple App Store.

Contains videos and tutorials to help you learn how to build apps using InDesign CS6 and Digital Publishing Suite. • A deeper guide to using the DPS features. For more on digital content creation and digital publishing check out. Besides resolution (the number of pixels) and color mode (the way colors are processed), one other variable affects image quality. Bit depth measures how much color is available for display or printing of each pixel. A greater bit depth means each pixel contains more information for describing the color. A pixel with a bit depth of 1 can display the pixel as either black or white.

The most common bit depth is 8-bit mode, which has a possible value of 256 intensity levels per color channel. However, depending on the version of Photoshop you are working with as well as the file type and image mode, you can access 8, 16, or 32 bits per channel. It’s important to note that larger bit depth can limit image adjustment command This post is from the book. Don't miss me this week where I'll be live on — The Photoshop Show 17 With Guest Richard Harrington Tue, October 2, 9:00 PM On Air Hangout on Google Plus Signup – Join + and + we bring back Photoshop and Digital Video expert + as he helps you learn the hottest new feature of Photoshop CS6 video! If you have a ton of footage just sitting on your hard drive, it's time to do something with it. Learn how to use the new tools in Photoshop CS6 to edit, color correct, and publish video.

Live Chat: Watch Live. One of my favorite video tools has been updated and is now shipping. PluralEyes is a HUGE timesaver that makes syncing multi camera video shoots and Dual System Sound projects (like DSLR and RED) a piece of cake. I have spent A LOT of time with the new version and it just rocks. To start it's 20X faster yes TWENTY.

I also love how it can create new media files from my merged clips for DSLR shoots. The product is shipping and supports several formats and workflows. Several updated are in the works including support for more file types and an Avid version. Check out the detailed product walk-throughs I did here – Here's the FAQ – Here's the Premiere Pro CS6 workflow. AdoramaTV presents DSLR Video Tips with Richard Harrington. In this episode, Rich takes you further into the creation of Time-Lapse animations by giving you an advanced look into the most professional way to assemble your files using Adobe After Effects. In earlier episodes, you learned how to shoot time-lapse, what gear to use, and how to develop the files using Photoshop and Bridge.

Now, Rich will show you how to work with your processed or RAW files in Adobe After Effects, including techniques such as color stabilizing, adding a vignette, or scaling and sizing over time. Want to know what's new in Photoshop CS6? Join author and college instructor Richard Harrington for an overview of the best new features. Qualified instructors can also receive a desk copy of his book, Understanding Adobe Photoshop CS6 and its accompanying lesson files and video training on DVD. Understanding Adobe Photoshop CS6 is crafted for use in the classroom and provides a rich learning experience for beginning and intermediate Photoshop students. The book includes 108 video training tutorials that illustrate and expand on the lessons in the book (a perfect edition for motivating students to learn who refuse to read). In addition, the book includes the following teaching materials: •lesson files with hundreds of images for the exercises in the book •interactive quizzes for each chapter •bonus exercises including images If you'd like to sample the book prior to the presentation please Register for this presentation here:.

I'll be speaking at DV Expo 2012 in Los Angeles this week – Use code ASMP for free exhibit pass and 15% off classes (enter at Step 3 of registration) There's some great deals for students too. I'll be teaching: • More than an Editor: Learning to be a Preditor • 10 Great New Reasons to use Adobe Production Premium • Building Budgets for Video Projects • Time Floats By: Creative use of Time-Lapse and Stop Motion • Innovation in Motion: What's new in After Effects CS6 • Motion Control 3D: Bringing Your Photos to Life in Three-Dimensions • Hypersyndication: How to Publish Your Content on the Maximum Number of Screens and Devices. AdoramaTV presents DSLR Video Tips with Richard Harrington. Now that you've learned about what gear you need when shooting time-lapse as well as techniques for how to processes your images in post-production, Rich will take you a step further in creating your time-lapse animation.

In this episode Rich demonstrates how to set up a video timeline, organize the files, process the images, and prepare for export and posting. Join Rich in this step-by-step tutorial of how to build time-lapse animations using Adobe Photoshop CS6. Check Out More Tutorials –. The Levels command corrects tonal ranges and color balance issues. With this command you can fix poor exposure. Additionally, you can perform color correction by manually identifying a white point and black point in the image. Nearly every image can benefit from making a Levels adjustment.

To understand Levels, you must be able to read a histogram. This graph works as a visual guide for adjusting the image. The Levels adjustment has its own histogram that is visible when working in the Adjustments panel. You may also want to call up the Histogram panel (Window >Histogram) and leave it open while color correcting to help you spot issues in color and contrast. You can also expand the Histogram panel by clicking the submenu and choosing All Channels View. Let’s give the command a try. 1.Add a Levels adjustment layer by clicking the Levels icon in the Adjustments panel.

Levels is also available from the Adjustments menu (Image >Adjustments), but the adjustment layer is more flexible for future modifications.  2.This photo was shot under mixed light, but you can reset the black and white points of the image to fix the exposure. In the Adjustments panel, move the white Input Levels slider to the left. This affects the image’s white point and allows you to reassign where white should begin in the image. Move the black Input Levels slider slowly to the right.

The more you move the black slider to the right, the more contrast is introduced into the image. 4.The true power lies in the middle (gray) Input Levels slider.

By moving this slider, you can modify the gamma setting. Effectively, you can use the middle Input Levels slider to change the intensity of the midtones. This adjustment can be made without making dramatic changes to the highlights and shadows, and lets you better expose an image.

Move the slider to the left to add light; move the slider to the right to subtract light. In the future if you need to edit the adjustment, simply select the adjustment layer in the Layers panel and manipulate the controls in the Adjustments panel. TIP Rinse and Repeat If you have several images from the same camera or shoot, they may need the same Levels adjustment. The Save button allows you to save a Levels adjustment (to the folder that contains the image is a good place). You can then click the Load button to apply that adjustment to another image.

Get the new book – Get the whole chapter for free here –. AdoramaTV Presents DSLR Video Tips with Richard Harrington. Now that you've learned the strategies for organizing images using Adobe Bridge, it's time to take the post-production process a step further and see how to develop images for time-lapse with Adobe Camera Raw. Watch Rich as he develops photos in preparation for different time-lapse sequences.

Learn how to make the images pop by adjusting key elements such as highlights, exposure, vibrance, and clarity in Adobe Camera Raw. Check Out More Tutorials –. When working with the Levels adjustment layer, you may have noticed the Auto button. This command button triggers an analysis of the histogram data by Photoshop that is then used to modify the individual controls of the Levels adjustment. In many cases this results in an image that is properly adjusted for color balance and exposure issues. In others it will get you closer to a corrected image. 1.Add a Levels adjustment layer by clicking the Levels icon in the Adjustments panel.

2.Click the Auto button to perform an automated adjustment for the image. The image’s levels and color are adjusted.  3.To refine how the automatic adjustment works, hold down the Option (Alt) key and click the Auto button again. A new dialog box opens. 4.Select Enhance Per Channel Contrast and Snap Neutral Midtones to create a very natural balance of colors for the image.  5.Click OK to close the dialog box.

6.Adjust the middle slider (gray) to refine the Levels adjustment to taste. When working with the Levels adjustment layer, you may have noticed the Auto button. This command button triggers an analysis of the histogram data by Photoshop that is then used to modify the individual controls of the Levels adjustment. In many cases this results in an image that is properly adjusted for color balance and exposure issues.

In others it will get you closer to a corrected image. Get the new book – Get the whole chapter for free here –. Adobe just released new features to Creative Cloud members. This is the start of a new trend that brings new features first to Creative Cloud members. While I'm looking to some more video and photo features, this first release targets web and illustration. New features were released today for Illustrator, Adobe Muse, and Edge preview. • — available only to Creative Cloud members — that give you the ability to package files, un-embed images, and do more with the Links panel.

To access these features, update Illustrator from its main menu by choosing Help >Updates. • – now includes built-in support for contact forms and many other new exclusive features. • now has resizable layouts, rulers and guides, and a more precise timeline. If you used Edge in the past, you’ll notice we’ve also updated the name. This is one new feature that looks really useful: To update Adobe Muse or Edge Animate preview, simply open either application and follow the instructions on the updater screen. To download any of these applications for the first time, go to. AdoramaTV Presents DSLR Video Tips with Richard Harrington.

Join Rich as he takes you through the first part of the post-production process for time-lapse videos. In this episode you will learn a great way to browse and organize your files so they are ready to use in a sequence. Before you create a time-lapse video, it's important to take the time to sort through and see the files you have. Stacking your images and batch re-naming are two essential steps in this post-production process. Check Out More Tutorials –. New users often have a difficult time when color correcting or enhancing images.

They generally lose sight of the goal: making the image look better while still being believable. Many users go “too far” in their quest to fix images.

If the image starts to look fake or too altered, it will be distracting. Although getting it “right” requires some practice, here’s some general advice to get you started: • Identify what’s wrong.

Before you can fix a picture, be sure you have decided on what’s wrong. Is it too dark? Is the sky washed out? Has the picture faded over time? Make a list and prioritize the issues you find in each image.

It’s easiest to fix one problem at a time, and if you identify those problems, you’ll know when to stop twiddling with the image. • Work with a copy of the image. Before you start to color correct an image, you should duplicate it.

This way you can return to an original version if you make a mistake or go too far in your image touch-up. After opening your file, choose File >Save As and name the duplicate version that will be corrected. Color correction can be a destructive process, meaning that you cannot revert to the original state at a later time. By preserving an original version of the image or employing adjustment layers, you make nondestructive editing possible. Some users also choose to duplicate the Background layer at the bottom of the layer stack.

• Edit with adjustment layers. Adjustment layers allow you to apply most of the image correction commands as nondestructive effects. They are added as a layer above the actual image; the adjustment layer can be blended, masked, or deleted at any time. Additionally, if you select the adjustment layer, you can modify its properties in the Adjustments panel. The same modifications are available in both the Adjustments menu and Adjustments panel. You should work with an adjustment layer whenever possible because its flexibility will be important for future revisions. • Get a fresh opinion.

It’s not a bad idea to step back and examine your work. Open the backup copy of the original image and compare it to the image you’ve been working on. This before-and-after comparison can be very useful. If you have a fresh set of eyes nearby, ask that person for his or her opinion. • Use Smart Filters.

This will open up most of the filters and several of the image adjustments including the Shadows/Highlights command and Variations. Just choose Filter >Convert for Smart Filters. Get the new book – Get the whole chapter for free here –. Want to know what's new in Photoshop CS6? Join author and college instructor Richard Harrington for an overview of the best new features.

Qualified instructors can also receive a desk copy of his book, Understanding Adobe Photoshop CS6 and its accompanying lesson files and video training on DVD. Understanding Adobe Photoshop CS6 is crafted for use in the classroom and provides a rich learning experience for beginning and intermediate Photoshop students. The book includes 108 video training tutorials that illustrate and expand on the lessons in the book (a perfect edition for motivating students to learn who refuse to read). In addition, the book includes the following teaching materials: •lesson files with hundreds of images for the exercises in the book •interactive quizzes for each chapter •bonus exercises including images If you'd like to sample the book prior to the presentation please Register for this presentation here:. This excerpt explains how you can mark clips with comments and flag up areas of interest for later using markers, and explains how to use sequence markers, clip markers, and interactive markers.

Note: This excerpt is from the forthcoming book. Sometimes it can be difficult to remember where you saw that useful shot or what you intended to do with it. Wouldn’t it be useful if you could mark clips with comments and flag up areas of interest for later?

Markers allows you to identify specific times in clips and sequences, and add comments to them. These temporal (time-based) markers are a fantastic aid to help you stay organized, and share your intentions with co-editors. You can use markers for personal reference or for collaboration.

They can be based on clips or on the Timeline. When you add a marker to a clip, it is included in the metadata for the original media file. This means, you can open the clip in another Premiere Pro project and see the same markers. Types of Markers There is more than one type of marker available: • Marker: A general marker you can assign a name, duration, and comments.

• Encore Chapter Marker: A special kind of marker that Adobe Encore can convert into a regular Chapter Marker when making a DVD or Blu-ray disc. • Web Link: A special kind of marker that supported video formats like QuickTime can use to automatically open a web page while the video plays. When you export your sequence to create a supported format, Web Link markers are included in the file. • Flash Cue Point: A marker used by Adobe Flash. By adding these Cue points to the Timeline in Premiere Pro, you can begin to prepare your Flash project while still editing your sequence. • Keep reading the article here –. Here's an excerpt from the official guide to Adobe Premiere Pro that I co-authored.

This excerpt covers ways of performing common tasks such as playing video clips, including a new browsing feature in Premiere Pro CS6 called hover scrub, and other key topics such as essential playback controls and customizing your monitors. Note: This excerpt is from the forthcoming book. Playback resolution If you have an older or slower processor, your computer may struggle to play back very high-quality video clips. To work with a wide variety of computer hardware configurations, from powerful desktop workstations to lightweight portable laptops, Premiere Pro can lower the playback resolution to make playback smoother. You can switch the playback resolution as often as you like, using the Select Playback Resolution menu on the Source (and Program) monitor.

Timecode information At the bottom left of the Source monitor, a timecode display shows the current position of the playhead in hours, minutes, seconds, and frames (00:00:00;00). At the bottom right of the Source monitor, a timecode display shows the total selected duration for your clip. Later, you’ll be adding special marks to make a partial selection. For now, it shows the complete duration. Safe margins Old-style CRT monitors crop the edges of the picture to achieve a clean edge. If you are producing video for a CRT monitor, click the Settings (spanner icon) button at the bottom of the Source monitor and choose Safe Margins. Premiere Pro displays white outlines over the image.

• The outer box is the Safe Action zone. Aim to keep important action inside this box so that when the picture is displayed, cropping does not hide what is going on. • The inner box is the Title Safe zone.

Keep titles and graphics inside this box so that even on a badly calibrated display, your audience will be able to read the words. • Click back into the Settings button at the bottom of the Source monitor and choose Safe Margins to turn them off. Essential playback controls Let’s look at the playback controls. • Double-click the shot 16_6B in the Double Identity bin to open it in the Source monitor. • At the bottom of the Source monitor, there’s a yellow playhead marker. Drag it along the bottom of the panel to view different parts of the clip. You can also click wherever you want the playhead to go, and it will jump to wherever you click.

• Below the clip navigation bar and the playhead, there is a scrollbar that doubles as a Zoom control. Drag one end of the scrollbar to zoom in on the clip navigator.

• Click the Play button to play the clip. Click it again to stop playback. You can also use the spacebar to play and stop playback. • Click the Step Back and Step Forward buttons to move through the clip one frame at a time. You can also use the left- and right-arrow keys on your keyboard.

• Use the J, K, and L keys to play your clip. Customizing the monitors To customize your monitors, click the Settings button on the Source monitor. This menu gives you several different display options for your Source monitor (the Program monitor has a similar menu).

You can choose to view waveforms and vector scopes to analyze your video. For now, we just want to know how to get regular video on-screen. Make sure Composite Video is selected in this menu. You can add or remove buttons at the bottom of the Source monitor. • Click the Button Editor button at the bottom right of the Source monitor. A special set of buttons appears.

• Drag the Loop button from the floating panel to the right of the Play button on the Source monitor, and click OK. • Double-click the di05c_compv_02 clip in the Double Identity bin to open it in the Source monitor.

• Click the Loop button to enable it, and then play the video using the spacebar or the Play button on the Source monitor. Stop the playback when you have seen enough. With Loop turned on, Premiere Pro continuously repeats playback. Here's an excerpt from the official guide to Adobe Premiere Pro that I co-authored. This excerpt covers ways of performing common tasks such as playing video clips, including a new browsing feature in Premiere Pro CS6 called hover scrub, and other key topics such as essential playback controls and customizing your monitors. Note: This excerpt is from the forthcoming book Adobe Premiere Pro CS6 Classroom in a Book. The greater part of video editing is invested in watching clips and making creative choices about them.

It’s important to feel really comfortable browsing media. Premiere Pro has multiple ways of performing common tasks such as playing video clips. You can use the keyboard, click buttons with your mouse, or use an external device like a jog/shuttle control.

Premiere Pro CS6 has a new browsing feature called hover scrub that allows you to view the contents of your clips quickly and easily right in the bin. 1 Double-click the Double Identity bin to open it. 2 Click the Icon View button at the bottom-left corner of the bin. 3 Drag your mouse, without clicking, across any of the images in the bin.Premiere Pro displays the contents of the clip as you drag. The left edge of the thumbnail represents the beginning of the clip, and the right edge represents the end.

In this way, the width of the thumbnail represents the whole clip. 4 Select a clip by clicking it once. Hover scrubbing is now turned off, and a mini scrollbar appears at the bottom of the thumbnail.

Try dragging through the clip using the scrollbar. Premiere Pro uses the J, K, and L keys on your keyboard to perform playback too, just like the Media Browser: •J: Play backward •K: Pause •L: Play forward 5 Select a clip, and use the JKL keys to play the thumbnail. Be sure to click the clip only once.

If you double-click, it will open in the Source monitor. Tip: If you press the J or L key multiple times, Premiere Pro will play the video clips at multiple speeds. When you double-click a clip, not only is it displayed in the Source monitor, it’s also added to a list of recent clips. 6 Double-click to open four or five clips from the Double Identity bin. 7 Click the Recent Items menu to browse between your recent clips. 8 Click the Zoom menu at the bottom of the Source monitor. By default, this is set to Fit, which means Premiere Pro will display the whole frame, regardless of the original size.

Change the setting to 100%. These Double Identity clips are high-resolution, and they are probably much bigger than your Source monitor. You are likely to have scrollbars at the bottom and on the right of your Source monitor now, so you can view different parts of the image. The benefit of viewing with Zoom set to 100% is that you see every pixel of the original video, which is useful for checking the quality. 9 Set the Zoom back to Fit. Tip: Notice that you have the option to close a single clip or close all clips, clearing the menu and the monitor.

Some editors like to clear the menu and then open several clips that are part of a scene by selecting them all in the bin and dragging them into the Source monitor together. They can then use the recent items menu to browse only the clips from this short list. My book called ' is on sale this week as Adobe Press's $9.99 book of the week. Almost all motion graphics artists today use After Effects, Photoshop, or Illustrator to some degree in their projects. But how do they decide which tool is best for the job and how can they utilize the various components in the Creative Suite together for the most efficient and effective workflow? This book cuts to the chase and shows readers an in-depth view of the various components in the Creative Suite as best utilized in professional motion graphics projects.

This includes all the hands on projects too! The deadline to submit your work for The Incredible Makeover Contest is right around the corner. If you haven't submitted your entry for this special contest sponsored by NAPP and Wacom, you only have seven days to do so. Don’t miss your chance to share one of your incredible makeovers with the world for the chance to win a grand prize package worth $5,000, as well as have your work featured in an upcoming issue of Photoshop User magazine.

To enter, simply submit a before and after image of your greatest work no later than July 31, 2012 and tell us how Photoshop and a Wacom pen tablet helped you transform your creative vision into a real-life masterpiece. Along with a panel of NAPP and Wacom officials selecting the grand prize winner, we’ll be bestowing a special People’s Choice Award with the general public Good luck! Entry Deadline: July 31, 2012 Winners Revealed: August 10, 2012 Contest Prizes $5,000 Grand Prize Award!•Wacom Cintiq 21UX Interactive Pen Display •Adobe Photoshop CS6 •Two-Year Membership to NAPP •Trip to Photoshop World Conference & Expo, Las Vegas People's Choice Award•Wacom Cintiq 21UX Interactive Pen Display •Adobe Photoshop CS6 •Two-Year Membership to NAPP Honorable Mention Award•Wacom Cintiq 21UX Interactive Pen Display •One-Year Membership to NAPP. I recently an eSeminar on the new features in Photoshop that benefits the motion graphic artist and video editor.

In case you missed it, we have posted a. Adobe has released several free webinars with a ton of information. A bunch of these presenters are both friends and colleagues. I highly recommend you check out some of this free training. •, with Rich Harrington •, with Maxim Jago •, with Patrick Palmer •, with Steve Forde •, with Al Mooney •, with Wes Howell and Ted Schilowitz •, with Richard Harrington •, with Robbie Carman •, Carey Dissmore •, with Todd Kopriva •, with Christine Steele •, with John Carr •, with Al Mooney •, with Colin Smith •, with David Dessel. Here's the recording from my ' ' webinar (sponsored by Tiffen). These days, a 'film look' is more popular than ever.

This workshop will give you practical shooting advice to achieve a shallow depth of field and more filmic look in camera. You'll also learn how to enhance even the toughest footage for a better look using a comprehensive suite of tools. Learn how to create realistic textures and curves using the DFT Film Stocks plugin. You can also create dynamic color mapping with PhotoCopy and enhance the light in your scene with Rays. Take 30% off with this unique code: RHEDDFX13 It can be redeemed here.

Creating a Film Look on a Video Budget July 18, 2012 (limited to 100 signups!) Sign Up Here – These days, a 'film look' is more popular than ever. This workshop will give you practical shooting advice to achieve a shallow depth of field and more filmic look in camera. You'll also learn how to enhance even the toughest footage for a better look using a comprehensive suite of tools.

Learn how to create realistic textures and curves using the plugin. You can also create dynamic color mapping with and enhance the light in your scene with. • Each attendee will receive a 15 day trial as well as a special discount on the software.

• One attendee with receive a full license of the software – random drawing, but must be present to win. July 11, 2012 (limited to 100 signups!) Sign Up Here – Learn how to approach color grading tasks from production to post. Learn important techniques about what to shoot in the field including camera profile, white balance information, and essential metadata. Then in post you'll learn how to create popular looks that clients want.

This workshop will explore both general techniques and theory as well as a detailed look at Tiffen. • Each attendee will receive a 15 day trial as well as a special discount on the software. • One attendee with receive a full license of the software – random drawing, but must be present to win. Take 30% off with this unique code: RHEDDFX13 It can be redeemed here. The and digital video expert Richard Harrington are teaming up to offer media pros three free webinars to take their video projects to the next level.

Richard Harrington will show techniques he uses at RHED Pixel ( ) to enhance the look of video images, raise production values, and achieve better composites. These demos will explore a variety of post production tools and show techniques that can improve the workflows for any user of Adobe Premiere Pro, After Effects, Final Cut Pro, or Avid.

These 60 minute workshops are free, but will only be offered live. July 11, 2012 (limited to 100 signups!) Sign Up Here – Learn how to approach color grading tasks from production to post.

Learn important techniques about what to shoot in the field including camera profile, white balance information, and essential metadata. Then in post you'll learn how to create popular looks that clients want. This workshop will explore both general techniques and theory as well as a detailed look at Tiffen.

• Each attendee will receive a 15 day trial as well as a special discount on the software. • One attendee with receive a full license of the software – random drawing, but must be present to win. =========================== Creating a Film Look on a Video Budget July 18, 2012 (limited to 100 signups!) Sign Up Here – These days, a 'film look' is more popular than ever. This workshop will give you practical shooting advice to achieve a shallow depth of field and more filmic look in camera. You'll also learn how to enhance even the toughest footage for a better look using a comprehensive suite of tools. Learn how to create realistic textures and curves using the plugin. You can also create dynamic color mapping with and enhance the light in your scene with.

• Each attendee will receive a 15 day trial as well as a special discount on the software. • One attendee with receive a full license of the software – random drawing, but must be present to win. =========================== Better Keying from Production to Post August 22, 2012 (limited to 100 signups!) Sign Up Here – Greenscreen has become an essential tool in modern video and film workflows. This webinar features visual FX industry veteran Marco Paolini ( ) and Motion Graphic Designer and Editor Richard Harrington ( ).

You'll learn modern shooting advice to produce better keying footage (particularly the need for quality lighting) as well as on-set advice to follow. You'll then explore how to prepare background plates, generate multiple mattes, wrap the light and more. This workshop will teach you techniques that work with any post workflow and also gives you a quick start on successfully keying with zMatte. • Each attendee will receive a 15 day trial as well as a special discount on the software. • One attendee with receive a full license of the software – random drawing, but must be present to win.

Take 30% off with this unique code: RHEDDFX13 It can be redeemed here. Are you an existing Adobe Premiere Pro or After Effects instructor? Are you looking to get certified to teach the official courses offered at training centers around the globe? Don't miss the chance to take the official Adobe Premiere Pro CS6 Certification Course to be held in Los Angeles.

Premiere Pro CS5 instructors must be re-certified in order to teach Premiere Pro CS6‹so don¹t miss this opportunity. EVENT DETAILS Date Monday, August 13 - Thursday, August 16 9:00am - 5:00pm daily Location: Los Angeles, CA USA The venue will be determined based on class size. Fees: Sign up early and get a $250 discount. Early bird registration fee is only $1,500.00 through Friday July 13. Standard registration is $1,750 after July 13. Includes a 12-month membership to Creative Cloud and all training materials.

Meals: Light breakfast and lunch provided each day. Travel & Lodging: Plan to arrive the evening prior to the start date. The course will last for 4 full days, ending after 5:00 on Thursday. Plan your departure accordingly.

Please see the registration site for lodging recommendations. If you were looking for one more reason to step up to, it just arrived.

For $49 a month for pros or $29 a month for students (with annual subscription) you know get the entire Adobe Creative Suite Master Collection, a bunch of cool tablet apps, a suite of online services, and now Adobe Lightroom. For those of you turned off by the name, these are the same apps in the traditional suites. They install and run off your local computer without a need for a constant Internet connection. The cloud angle is simply a bunch of online tools for collaboration and backup.

A popular shortcut in Final Cut Pro is the ability to increase or decrease audio levels with a keyboard shortcut. The closest you can come in Adobe Premiere Pro is a little customization. Choose Premiere Pro >Keyboard Shortcuts (Edit>Keyboard Shortcuts). In the search field enter Audio Gain. Map this command to an easy to remember shortcut (like Ctrl + =). Now you can press it to bring up the Audio Gain dialog box.

The new dialog already has the Adjust Gain by field selected. Just enter a number and press Return or Enter. Yes, it's two steps instead of one, but its also more flexible. If you need to apply an effect to multiple clips at once, an adjustment layer can really come in handy. Experienced After Effects or Photoshop users may already be familiar with the technology which makes its debut in Adobe Premiere Pro CS6. The concept is simple, you create a new specialty layer that can hold effects and sit above other video tracks. Everything beneath the adjustment layer will be processed by the effect.

Adjustment layers can have their trim handles and opacity modified to further refine the effect and its placement. An adjustment layer is often easier to modify since it is a single effect, rather than multiple instances applied to several clips. To use an adjustment layer, follow these steps. • Click the New Item button at the bottom of the project panel and choose Adjustment Layer.

Click OK to create the adjustment layer to match the dimensions of the current sequence. • Locate the new adjustment layer that was added to your project. You can rename it or move it to a bin to make it easier to track.

• Drag the Adjustment layer to a higher track in the timeline. Trim its handles to cover just the portion of clips you want to affect. • With the adjustment layer selected, drag an effect on to it from the Effects Browser (or simply double-click the effect). • Adjust the effect using the Effect Controls panel. TIPS • Be Sure to Blend – Blending an adjustment layer can significantly change the behavior of an effect. This is a great way to create new looks from existing plug-ins.

• Color Grade Approach – One way to grade color is to combine adjustment layers with standard effects. Use essential color correction techniques to neutralize and issues with individual clips.

Then use an adjustment layer across the entire scene to grade or stylize. This makes it easier to iterate different looks or refine an adjustment.

Be sure to pick up the new edition of. Adobe Creative Suite 6 Production Premium software is the latest high-performance toolset with everything you need to create productions for virtually any screen, with its many new features, it’s the perfect solution to be the hub of your post-production workflow. Join Adobe Certified Instructor Richard Harrington as he shows you what's new with Adobe's Creative Suite 6 for the video pro—you’ll learn how to get more done faster in Adobe Premiere Pro and After Effects as well as how Photoshop can be used for all your video projects.

Rich will focus on techniques that you can put into action right away, you'll learn about: • 3D Camera tracker • 3D Extrusion • Dynamic Trimming • Warp Stabilizer • enhanced performance • and much more. This workshop is perfect for users of all skill levels. Schedule: Wednesday, June 20, 2012 5:30PM - 7:30PM Location: The Adorama Building, 42 West 18th Street 5th floor. Get more from #CS6 at Rich Harrington's NYC workshop @Adorama on 6/20 about Adobe video products (free after rebate).

A companion application in the Adobe Creative Suite is Adobe Prelude. This application can be used to organize footage in a simple, streamlined interface. The use of Adobe Prelude is beyond the scope of this book, but you will find extensive coverage in the application’s documentation on how to use it and best practices for organizing clips. Adobe Prelude is designed so producers or assistants can quickly ingest, log, and even transcode media for tapeless workflows. If you have an Adobe Prelude Project, here’s how to send it to Adobe Premiere Pro.

• Launch Adobe Prelude. • Open the project you want to transfer. • Switch to Adobe Premiere Pro and make sure the project that you want to receive the media is open.

• Switch back to Adobe Prelude and click on the Project Panel. • Select the individual clips you want to send by Command-clicking (Ctrl-clicking) or select all clips. • Choose File >Send to Premiere Pro. • Switch to Adobe Premiere Pro. The files should appear in the Project panel • You can now quit Adobe Prelude and close the project.

Join Creative Suite video experts for a free, in-depth seminar featuring the new Creative Suite 6 Production Premium. Discover the killer new features, and meet partners with complementary offerings that—when combined with CS6 Production Premium—deliver new workflows that work and flow. Here's what you'll see: How Adobe Creative Cloud helps you break down creative barriers and revolutionizes the art of video production. The redesigned Adobe Premiere Pro CS6—the hub of your post-production workflow. With a streamlined user interface, powerful new trimming tools, and other creative advancements, you'll see why more and more professional editors are turning to Adobe Premiere Pro.

A faster, more productive After Effects CS6 featuring new features such as Global Performance Cache and the 3D Camera Tracker that add up to what is rumored to be the biggest After Effects release in a decade. Creative magic in imaging with new Content Aware tools and the fastest performance ever in Photoshop CS6. New features in Adobe Story and Adobe Audition, as well as brand new tools into the video lineup: Adobe Prelude, a tool created specifically for logging and ingest, and Adobe SpeedGrade, a forward-looking approach to color grading and finishing. Find out more. While you might not think of a color effect to fix contrast, the Fast Color effect is a great place to turn. In just a few clicks you can adjust contrast and tone. • Auto Black Level: One click of this button raises the black levels in a clip so the darkest levels are above 7.5 IRE (NTSC) or 0.3v (PAL), which means they are broadcast safe.

The shadows of the clip are slightly brightened when you use the Auto Black Level button. • Auto White Level: One click of this button lowers the white levels in a clip so the lightest levels do not exceed 100 IRE (NTSC) or 1.0v (PAL), which means they are broadcast safe. The effect also clips a portion of the highlights and the rest of the pixel values are redistributed proportionately. Using the Auto White Level option tends to darken the highlights in an image. • Auto Contrast: This button applies both the Auto Black Level and Auto White Level command simultaneously. The Auto Contrast option makes the highlights appear darker and shadows appear lighter. • Set In points in a series of clips as needed.

If using stills, you can skip this step. • Switch the Project panel to icon view and drag to arrange the clips in order. Place the clips left to right then top to bottom to indicate the order of clips. • Select the clips in the Project panel. Either Command-click (Mac OS) or Ctrl-click (Windows) in the order you want. • Lock the tracks that you don't want to use. The Automate To Sequence command disregards target tracks and always uses the lowest available video and audio tracks.

• Click the Automate To Sequence button. • Change the Placement pop-up menu to At Unnumbered Markers, so that the clips are placed at unnumbered sequence markers. • Use the other options to add transitions or to ignore audio or video. • Click OK to make the edit. Want to precisely edit to the beat of the music? Then you should just use your sense of rhythm.

If you can tap your finger to the music, you can achieve better editing. • Click in the Timeline panel. • Select a clip in the Timeline (such as the music track). • Press play to start playback. • To add a Layer Marker, press the Multiply symbol (*) on the numeric keypad.

If you're using a laptop, you can click the Set Unnumbered Marker button in the upper left corner of the Timeline panel. • Continue to tap out each beat or audio event that you’d like to sync to. • When the playback is finished, all of the Timeline markers will appear.

• To move between markers, press Cmd + Right Arrow or Left Arrow (Ctrl + Right Arrow or Left Arrow). • Mark In and Out points as needed in order to edit. Blending modes are an integral part of both design and color correction workflows as they let you mix the content of two or more layers. Part of the reason many pass on blending modes is that they are hard to use if you don’t know which one you want.

The truth is that the list can get a little long and if you aren't familiar with them, it can get a little confusing. Here’s a much better way to experiment: • Select the layer or layers you want to blend. • If using Photoshop, choose the Move tool (In After Effects, you can skip this step). • Press Shift + = (Shift plus Equal) to scroll through the list. • To move backward, press Shift + – (Shift plus Minus) to return to a passed blending mode. Once you’ve edited your masterpiece its time to share it with the world.

Two of the most popular sites are Vimeo and YouTube. Both have upload limits on how big of a video you can post (Plus, why should you waste time loading up a bigger file that just has to get compressed again for the web?). Compress the files on your machine and you'll have faster upload times and better playback quality. Here’s how to make compressed video right inside Adobe Premiere Pro: • Choose File >Export >Media or press Cmd+M/Ctrl+M. The Export Settings window opens. • From the Format pop-up list choose H.264. • Click the Preset list and choose the correct preset.

You’ll find ready to use settings for both YouTube and Vimeo. Be sure to choose the HD presets if your source video is HD. • Check the box next to the Use Maximum Render Quality option. This will take a little longer to process, but the quality is worth it.

• Click the underlined text next to Output Name. This lets you name the file and specify a destination. • Click the Export button to create your file. This Photoshop tutorial discusses how to enhance color with a Vibrance adjustment layer. This specific tutorial is just a single movie from chapter four of the Nondestructive Exposure and Color Correction with Photoshop course presented by lynda.com author Richard Harrington. The complete Nondestructive Exposure and Color Correction with Photoshop course has a total duration of 1 hour and 31 minutes, and explores using tools from adjustment layers to filters to nondestructively transform your photos. Nondestructive Exposure and Color Correction with Photoshop table of contents: • Introduction • 1.

How to Approach Color Correction in Photoshop • 2. Nondestructive Workflows in Photoshop • 3. Working with Raw Files Nondestructively • 4. Performing Primary Image Adjustments • 5. Controlling Adjustment Layers • 6.

Using the Shadow/Highlights Command • 7. Special Case Adjustments • 8. The Black-and-White Adjustments • Conclusion •. The Media Browser is a robust tool for reviewing your media assets and then importing them into Premiere Pro. The Media Browser is designed to properly show you media formats acquired by modern digital video cameras, and can convert the complex camera folder structures into easy to browse icons and metadata. Being able to see this metadata (which contains important information such as duration, date, and file type) makes it far easier to select the correct clip from long lists of files or shots. By default, you’ll find the Media Browser in the lower-left corner of your Premiere Pro workspace (if your workspace is set to Editing).

It’s docked in the same frame as the Project panel. You can also quickly access the Media Browser by pressing Shift+8. You can position the Media Browser elsewhere on-screen by dragging it, or undock it to a floating panel by clicking the submenu in the corner of the panel and choosing Undock Panel. You’ll find that working in the Media Browser is not significantly different from browsing using your computer’s Operating System. There are a series of navigation folders on the left side and standard up, down, left, and right arrows in the upper-right corner to change levels of browsing. You can use up and down arrows to select items within a list and the left and right arrows to move further along a file directory path (such as stepping into a folder to examine its contents).

The major benefits of the Media Browser include the following: • Narrowing the display to a specific file type, such as JPEG, Photoshop, XML, AAF, and more. • Auto sensing of camera data—AVCHD, Canon XF, P2, RED, ARRIRAW, Sony HDV, and XDCAM (EX and HD). • Viewing and customizing the display of metadata associated with your clips. • Correctly displaying media that has spanned clips across multiple camera media cards. This is very common in professional cameras, and Premiere Pro will import the files as a single clip, even if two cards were used to record the longer file.

A site that I use frequently is iStockphoto to find illustrations and photos for both client jobs and presentations (they are also a sponsor of my blog, but I am a paying customer too). They just released a very cool plug-in that let's you search for images right within some of the key Adobe apps. It currently works in Photoshop, Illustrator and InDesign (I'm hoping for some of the video apps in near future).

The official blurb iStock Plug-in for Adobe Creative Suite iStockphoto is the world's leading provider of royalty-free stock media and design elements, featuring millions of inspiring stock photos and illustrations to choose from. With the iStockphoto Plug-in for Adobe® Creative Suite®, you can browse, download and edit photos and illustrations without ever leaving Photoshop®, Illustrator® or InDesign®. Crop them, resize them and make them your own, directly from the Creative Suite. To use the simply: • Ensure you have Adobe Creative Suite 5 or higher for PC or Mac • Click “Install iStock Plug-in” above • Open the downloaded file using the most up-to-date version of Adobe Extension Manager • Enable the plug-in by selecting Window>Extensions>iStockphoto You can download the free plug-in here –. Adobe Story has been dropped from the standalone versions of Adobe Creative Suite 6. Here are some official details.

What change did you make? We have decided to remove Adobe Story CS6 from the perpetual versions of Master Collection, Production Premium, Premiere Pro and After Effects. Why did you pull story from Master Collection, Production Premium, Premiere Pro and After Effects? We were bundling a static AIR version of Adobe Story with these products through the Adobe Creative Suite 5.5 cycle, while this gave users access to Adobe Story, we updated the core application four times throughout the year, leaving the perpetual users with technology that was not the latest version. Adobe Story was designed to be a collaborative cloud service from day one and with the big push toward services with the upcoming announcement of Creative Cloud, we've made the decision to move Adobe Story to a full services model. What versions are still available?

Adobe Story is available now with Adobe Story Free, as an online scripting tool. Adobe Story Plus, a collaborative pre-production tool with integrated scheduling and scriptwriting capabilities is expected to be available as a stand-alone subscription, as well as a version with the upcoming Adobe Creative Cloud Subscription. Adobe has a FREE series of webinars every Thursday from now until June 21. Plus I teach one on June 7 about Adobe Photoshop CS6. You can sign up here – Editing Faster Your Way with Adobe Premiere Pro CS6 Thursday, April 26, 2012 at 10:00am Pacific Time Join Adobe Product Manager, Al Mooney, as he demos the exciting new features in Adobe Premiere Pro CS6—the powerful non-linear editing system that sits at the heart of Adobe CS6 Production Premium, connecting all of your media as it flows in and out of post-production. See how Adobe® Premiere® Pro CS6 combines incredible performance with a sleek revamped UI, and a host of powerful new creative features, including Warp Stabilizer for stabilizing footage, dynamic timeline trimming, expanded multicam editing, adjustment layers, and more for a fluid editing workflow. Sign up for this live Ask a Video Pro Session.

Innovation in Motion: After Effects CS6 Thursday, May 10, 2012 at 10:00am Pacific Time After Effects CS6 holds exciting new features for the motion graphics designer, visual effects artist, and video editor. Sign up for this live Ask a Video Pro session and join Product Manager Steve Forde to learn about new features and how to jump in and get things done. Jump-start your production with Adobe Prelude CS6 Thursday, May 17, 2012 at 10:00am Pacific Time Speed up your workflow and stay organized with Adobe Prelude CS6, now part of the Creative Cloud.

With a unified interface designed for ingest and logging workflows, you now can work faster, stay organized and streamline your production process. Copy your media, then begin logging immediately with the ability to add searchable markers and other temporal metadata that let you find what you need, when you need it. Create rough cuts with production notes that flow into Adobe Premiere Pro, communicating your vision for the project through final editing. Sign up for this live Ask a Video Pro session to learn more. What’s new in SpeedGrade CS6 Thursday, May 24, 2012 at 10:00am Pacific Time New Adobe SpeedGrade CS6 allows Production Premium users to manipulate color and light for any type of content, redefining Stereo 3D, RAW processing, color grading and finishing for professional film and television.

Sign up for this live Ask a Video Pro session and join Adobe Product Manager, Patrick Palmer to learn about Color grading and finishing with new Adobe SpeedGrade CS6. What’s new in Audition CS6 Thursday, May 31, 2012 at 10:00am Pacific Time Audition CS6 accelerates audio post-production with dozens of new features that, like those in Adobe Premiere Pro, make editing faster and more intuitive.

Real-time clip stretching makes it simple to stretch clips to fit an edit and Automatic speech alignment introduces a powerful new engine for automated analysis. The fastest audio editor gets even faster with improved controls for grouping clips, spotting clips, previewing edits, and new export flexibility, including support for CD burning. Sign up for this live Ask a Video Pro session and join Adobe Product Manager, Ellen Wixted, to learn about new features in Audition CS6. Perfect Pixels: What’s new in Photoshop CS6 Thursday, June 7, 2012 at 10:00am Pacific Time Sign up for this live Ask a Video Pro session and join Rich Harrington to learn what’s new in Photoshop CS6 with a particular emphasis on tools that benefit the motion graphic artist and video editor. Take advantage of new blurring and color correction options as well as support for enhanced text layout and 3D objects. Editing with RED & Adobe CS6 Production Premium Thursday, June 14, 2012 at 10:00am Pacific Time Learn how to edit up to 5K with ease using RED files natively in Adobe Premiere Pro CS6 and Photoshop CS6.

Sign up for this live Ask a Video Pro session and join Christine Steele to learn how to get the most from RED Epic and Scarlet cameras and achieve seamless workflows with REDCINE-X. What's new in Story CS6 Thursday, June 21, 2012 at 10:00am Pacific Time Adobe® Story software lets you outline your ideas, write scripts quickly with industry-standard, automatic formatting and collaborate online. Plan and schedule fast-paced video projects, organize production with reports, and leverage script metadata in post-production with Adobe Premiere Pro CS6. Sign up for this live Ask a Video Pro session to learn more. When working in After Effects, there are five key components to animating a layer. These properties are very easy to quickly access through keyboard shortcuts. • Press A to Twirl down the Anchor Point.

•Press P to Twirl down the Position. •Press R to Twirl down the Rotation. •Press S to Twirl down the Scale.

•Press T to Twirl down the Opacity. You can also use following modifier keys to speed up your work.

• Hold down the Shift key to display additional properties after selecting the first item. •Hold down the Option (Alt) key to display a property and add a keyframe at the Current Time Indicator. To learn more, see this course on lynda.com: Maximizing your Web Video and Podcast Audience with Hypersyndication table of contents: • Introduction • 1. Organize Your Photos with Adobe Bridge • 2. Understanding Resolution • 3.

Working in the Right Color Space • 4. Removing Damage • 5.

Content-Aware Repairs • 6. Controlling Focus • 7. Removing Distractions • 8. Toning Images • 9. Documentary Motion Control with After Effects • 10. Exporting Animation • Conclusion.

In this tutorial, I will show how to change language to English. Adobe Photoshop CS6 provide some languages for user. In last post ““. If you download Photoshop CS6 trial version in the Adobe website. You have many choice for using language you want. Now, Adobe Photoshop CS6 have some packed languages: English—International, English — Universal, Japanese, Danish, Dutch, Finnish, French, French — Canada, German, Italian, Norwegian, Portuguese — Brazil, Spanish, Spanish—Latin America, Spanish — North America, Swedish, Czech, French — North Africa, Hungarian, Middle Eastern English Arabic, Middle Eastern English Hebrew, Polish, Romanian, Russian, Turkish, Ukrainian, Chinese Simplified, Chinese Traditional, Korean. Example: If you want to use English language, but your photoshop is Swedish language.

How to change Photoshop cs6 Swedish to English language? Of courese, you don’t have to reinstall Photoshop CS6. My Photoshop CS6 have 2 languages: English and Swedish. I’m using Swedish language as default. I’ll change form Swedish to English for this tutorial. You can also practice for another languages. ↓ • Dan Berglin I’m Swedish and I have one choice: Swedish 😐 Why would *anyone* want to use Photoshop in Swedish?!

The one who did that translation must have had an evil sarcastic laugh at every single translated word. He or Her must also have felt that feeling of doing the most important thing since that book about life guarding at the swimming Oluympics you wrote. I’ve been a Photoshop professional for a few weeks, but I have also a few years of experience trying to find the Swedish exit button and google this page.