Adobe Photoshop CS4 - Manual (Page 555)

548 USING PHOTOSHOP CS4
Video and animation
Last updated 1/10/2010
8 Drag over the area of the frame you want to paint.
Painting on a video layer is nondestructive. You can choose the Restore Frame or Restore All Frames command to
discard the altered pixels on a specific frame or video layer.
Change frame offset for cloning or healing
❖ In the Clone Source panel:
• To always paint using the same frame you initially sampled from, select Lock Frame.
• To paint using a frame relative to the frame you initially sampled from, enter the number of frames in the Frame
Offset box. If the frame you want to use is after the frame you initially sampled, enter a positive value. If the frame
you want to use is before the frame you initially sampled, enter a negative value.
Restore frames in video layers (Photoshop Extended)
You can discard edits made to frame video layers and blank video layers.
❖ In the Animation panel, select a video layer and do one of the following:
• To restore a specific frame, move the current-time indicator to the video frame and choose Layer > Video Layers >
Restore Frame.
• To restore all the frames in a video layer or blank video layer, choose Layer > Video Layers > Restore All Frames.
Managing color in video layers (Photoshop Extended)
In Photoshop Extended, you can paint on video layers using tools such as the brush tool or the clone stamp tool. If no
color profile is assigned to the video layer, these pixel edits are stored using the document file’s color space, and the
video footage itself is left unchanged. If the color space of the imported footage is different from the color space of your
Photoshop document, you may need to make adjustments. For example, a standard definition video movie may be in
SDTV 601 NTSC, while the Photoshop Extended document is in Adobe RGB. Your final exported video or document
might not have the colors you expect due to the color space mismatch.
Before investing a lot of time painting or editing video layers, test your complete workflow to understand your color
management needs and find the approach that works best for your workflow.
Often, you can solve a mismatch by assigning a color profile to the document that corresponds to the imported footage,
and leaving the video layer unmanaged. For example, with standard definition video, you can leave the video layer
unmanaged and assign the document the SDTV (Rec. 601 NTSC) color profile. In this case, the imported frame pixels
are stored directly in the video layer without color conversion.
Conversely, you can assign the document’s color profile to the video layer using the Convert Edited Frame Content
option (Layers > Video Layers > Interpret Footage). This option converts the pixel edits to the document’s color space,
but does not convert the colors of the video frames.
The Convert To Profile command (Edit > Convert To Profile) also converts all pixel edits to the document’s color
space. However, using the Assign Profile command (Edit > Assign Profile) does not convert the pixel edits to a video
layer. Use the Assign Profile command with care, especially when you’ve painted on or edited video frames. If the video
layer has a color profile, applying the Assign Profile command to the document may cause a color space mismatch
between the pixel edits and the imported frames.
Some combinations of video footage and document color spaces require color conversion:
• A grayscale movie in an RGB, CMYK, or Lab mode document requires color conversion.
• Using 8- or 16-bpc footage in a 32-bpc document requires color conversion.