Welcome to the Photoshop Training Channel.
I have an awesome tutorial for you guys today.
And actually, this was a request by one of
my viewers, Fernando Battle, who sent me a
message on Facebook asking for this tutorial.
As you might imagine, I get a request for
tutorials almost everyday.
But this one stood out since it was an original
idea, and I had not seen a tutorial that used
photoshop exclusively to create this effect.
So, thanks to Fernando for the suggestion.
If you have an idea for a tutorial, let me
know.
But keep in mind that I can’t possibly do
every tutorial that are suggested to me.
But anyway, in this tutorial I’ll be showing
you how to achieve the Ken Burns effect using
only Photoshop CS6.
The Ken Burns effect is a motion graphics
technique which pans and zooms images to create
motion and depth.
The effect has evolved to include panning
in 3D space, which is what we’ll be doing
in this tutorial.
We’re going to move the foreground, mid-ground,
and background independently of each other
to create a sense of depth.
This is called the parallax effect.
In the past, photoshop was used to create
the individual images of the effect in motion
graphic applications like [After Effects]
[unsure][0:01:13.6] were used to create the
animation.
But photoshop CS6, we can achieve this effect
without the use of any other program.
This is going to be a long tutorial since
I’ll be starting from scratch.
And I will need to create the different images
that will make up each of the plains.
But to save you some time, I’ve included
the images already masked out so you can skip
ahead to the fun stuff.
And just do the 3D effects on your own.
To download the files just look for the link
below.
If you’re not on my site now, go to photoshoptrainingchannel.com
and look for this tutorial.
Okay guys, let’s get started.
In this tutorial we’re going to be working
with the image of this girl and this guy riding
in bike.
And before we go any further, let’s make
sure that you’re looking at the same thing
that I’m looking at.
So, go into Window, Workspace, make sure 3D
is checked, and click on reset 3D.
So your panels are arranged in a 3D workspace.
And we’re first going to work in our layers
panel.
The first you need to do is determine the
number of plains.
For example, of what the foreground is, the
mid-ground, and the background.
Each plain is going to have a different depth
in the Z axis, and it’s going to create
a sense of perspective.
Having three or more layers will create the
parallax effect, which works well to create
of perspective and depth.
So, let’s determine what’s going to be
our foreground, our mid-ground, and our background
in this image.
So, the girl is closer to us, to the camera,
than the guy and obviously the background
is behind both of them.
So the girl’s going to be our foreground,
the guy’s going to be our mid-ground, and
the sky along with the grass and the road
is going to be our background.
Now, in [mirror][unsure][0:02:57.3] image
you might have more objects in here.
You might have five or six, or maybe even
more, and you have to determine what those
objects are, that way you can mask them out
accordingly.
So, the first thing we need to do is create
a layer that only contains the girl, and then
do the same thing with the guy, and the same
thing with the background.
So, I’m going to show you how to mask out
the girl first.
So click on the original layer, press Control
J to duplicate, and select the Quick Selection
Tool.
Start clicking and dragging anywhere along
inside of the girls, so you only select her.
And by the way, I’m just clicking and dragging.
I’m holding the left mouse button… and
my mouse.
And by the way, I accidentally selected the
sky, and that’s okay, I can just hold Alt
or Option on the Mac… and subtract from
that selection like so.
And then we’re just going to continue selecting
her arm.
And I’m going to go a little quickly here
because this is going to be a somewhat of
a long tutorial, and I don’t want to bore
you with something you already know like selecting
an image.
So, I’m just going to quickly select her
as best as I can.
And I’m going to hold Alt and subtract from
the selection here in between her arm and
her body… like so, do the same thing on
the other side.
And I have a pretty decent selection here.
What I’m going to do now is I’m going
to into the quick mask mode and click on the
icon here right below your foreground and
background colour, this is your quick mask
mode.
When you do that, everything that is selected
is going to have a red overlay on it.
So the guy and the background will have this
red overlay in this image.
I’m going to click on the zoom tool.
And I’m going to zoom in to some areas that
need some work, like her arm here.
You can paint with black, and actually let
me select the soft brush.
You can paint with black… to subtract from
that selection.
And you can paint with white to add to the
selection like so.
I’m going to press X to go back into my
background colour and use the bracket keys
to adjust the size of my brush.
And I’m going to paint the areas that need
some work… here, and here, and as I said
before I’m not going to spend too much time
on here since you probably know how to do
this already.
So, I’m going to…
Oops, actually that should not be selected.
And I’m going to select the cable here for
the breaks in the bike, and press X to switch…
to make my background… my foreground colour
black.
Actually I needed white.
I had it right to begin with.
And, the better your selection is, the better
it’s going to work afterwards.
So you might want to spend a little more time
than I am on making the mask for your objects,
for all your different objects.
Actually I need to add back to the selection,
so I’m going to press X and select her arm.
And this should be okay for now.
Actually…
I got to add to the selection here on her
shoulder… like so.
And we got to fix the selection on her head
actually.
So let’s do that.
And now that I’m done, I’m going to zoom
out and make sure that I have everything that
I need selected, and it looks like I do.
So then I’m going to click on the quick
mask mode once again.
And I’m going to add a layer mask by clicking
on the layer mask icon.
And as you can see if I shut off the visibility
to the original layer, I only have the girl
selected.
I can click on the layer mask and then click
on mask edge.
I’m going to change the view to black so
we can see our selection better.
And I’m going to smooth it out just a little
bit to have smoother edges.
I’m going to shift the edge slightly, maybe
-1%.
And I’m going to feather it again just a
little bit, maybe like 0.5 pixels like so,
to create a smoother selection.
Then I’m going to press Okay.
And I see that there’s an artefact here
that I don’t want, so I’m just going to
erase that by painting with black.
Okay, and that’s gone.
So now, we have the girl on this layer.
And what I’m going to do now is do the same
thing with the guy.
And I’m going to do exactly the same thing.
So you don’t really need to see.
So, I’m going to pause the video and once
I have him selected I’m going to come right
back.
Okay guys, I’m back.
As we can see I’ve already gone ahead and
added a layer mask to the boy layer, so I’m
just going to name this layer “Boy”.
And this is actually looking pretty good.
Now, I just noticed that we’re missing some
pixels here in the girl’s hat.
So I’m just going to click on that layer
mask and I’m going to add those pixels back.
And it’s actually good to shut off the visibility
on your original layer.
So you can see the background and you can
see where there are some mistakes, if any.
So I’m just going to do this a few more
times.
And it looks like everything’s good so far.
Okay, so now the next step is… if we’re
going to be moving these layers around in
3D, we need to create an arm for this guy.
Because when we move her around with the 3D
camera, it’s going to be obvious that he’s
missing an arm.
So we need to create an arm for him.
So what we’re going to do is we’re going
to click on the girl layer and we’re going
to select the Lasso Tool.
And I’m going to select her right arm like
so.
Then I’m going to go into Edit, Copy Merged,
and the press Ctrl V to paste, and I’m going
to shut off her visibility, the visibility
of the girl layer.
And I’m going to more that arm with the
Move Tool and place it right above the handle,
like so.
And then I’m going to press Ctrl T on the
keyboard, that’s Command T on the Mac, I’m
going to move the pivot point to the hand.
And now I can rotate it from that point.
I’m going to scale it down.
I’m going to hold Shift to keep the arm
constrained.
And I’m going to try to match it as best
as I can to where his arm would be.
And I’m going to right click on that layer
and click on Distort so I can click on the
corners here and the corner handles and get
a better result, like so.
And the hand might still be just a little
too big, so I’m going to click on Scale
and scale it down just a little bit.
Use the Arrow keys on the keyboard and move
that around, and press Enter.
And that’s pretty good right there.
I’m going to add a layer mask.
I’m going to press B on my keyboard to get
the brush tool.
Press X on the keyboard to make my foreground
colour black.
Use the Bracket keys to change the size of
my brush.
And just mask out things that don’t belong.
Looks like they have some transparent pixels
here, so I’m just going to paint that white
to bring those back like so.
And when I’m done I’m just going to right
click on the layer mask and click Apply Layer
Mask, and I’m going to put that right above
the boy layer, and I’m going into Filter,
Blur, Gaussian Blur.
Since the boy is more blurry than the girl
we want to match the same blurring, and so
something around 2.1, maybe even more.
Actually, 2.3…
2.1, something like that would work.
Press Okay.
And then press Ctrl E, Command in the Mac,
and click on Apply to apply the layer mask.
So now we have a layer with just the boy,
and the girl.
And now that we’re here I’m just going
to also apply this layer mask since we won’t
be needing those anymore.
Now that we separated our foreground, our
mid-ground, we need to separate our background.
Now, I’m going to duplicate this layer by
pressing Ctrl J, and I’m going to call this
layer “Background”.
And what we need to do is make sure that the…
both the boy and the girl can not be seen
in this background because if we move layers
around in 3D space, you’ll see the original
girl or boy in the background.
So what we need to do is use our photoshop
skills to create a new background from here.
So, we’re going to be doing a lot of cloning,
patching, smudging, a whole bunch of different
techniques so we can create a new background
out of this image.
So, in your particular image, it might not
be as easy and you might be limited to a very
small 3D movement.
But we’re going for a pretty dramatic effect
here so we are going to have to recreate our
background.
So, what I’m going to do first is I’m
going to grab the Lasso Tool, and I’m just
going to make a selection around this area
like so, and actually you know what, I’ll
even include some of this part, some of that
up there as well.
Then I’m going to go into Select, Modify,
Feather, make sure the Feather radius is 5
pixels.
Press Okay.
And then press Ctrl J. Then press V on the
keyboard.
And by the way, that was Command J on the
Mac.
And press V on the keyboard to select your
move tool.
And now you can move this around as well.
And I’m going to hold Alt or Option on the
Mac to keep making duplicates of that background,
like so.
And, as you can see these are all new layers
from that background we’ve been duplicating.
I’m just going to select them all and press
Ctrl E. And I’m going to use the Clone Stamp
Tool.
Hold Alt to… select any source of reference.
You just kind of get rid of those repeating…
that repeating texture, like so.
And we’ll leave that there for now.
Now, there’s a road back here as you can
see, so let’s try to recreate the road.
The road is going to be… and actually I’m
going to select the Polygonal Lasso Tool and
just kind of give it a good guess of where
that road is going to be.
So maybe… along here somewhere, maybe, like
so.
And actually if I put my original layer on
top, it can probably even get a better estimate,
maybe here… like so.
And then I’m going to create a new layer
and I’m just going to select the colour
of the road here, this off white colour, and
then just…
I’m going to go into Select, Modify, Feather,
press Okay, and fill it with that colour.
And I’m sorry if this is taking a little
too long but we do have to create this background
to get the effect that we’re going for,
and I’m going to go as fast as I can here.
So now that we have that road, we can continue
using the Clone Tool and adding to that like
so.
And by the way, hold…
I’m holding Alt or Option on the Mac as
I… to select a different point to clone
from, like so.
And you could just keep doing this until you
get rid of the people here.
And one trick I’m going to show you is to
duplicate… well you’re going to need to
create trees, these trees back here.
And one way of doing that is by adding a new
layer, selecting the Brush Tool, and selecting
one of these brushes here, like one of these.
And we’re going to… click on the Eye Dropper
Tool and select that green, press B on the
keyboard to bring back our brush, and we’re
just going to… actually you know what, this
brush is not working as well as I had hoped.
So we’ll just pick this other brush here.
Let’s see how this one is going to work.
Okay, this is working much better.
We need to create that tree line again.
So we have that, and we can go into Filter,
Blur, Gaussian Blur, and press Okay.
And if we do this step two or three more times
with the different colours found in the tree
line, we can get a pretty close duplicate
of how these trees look like in the background.
Now, I’m going to go ahead and pause the
video one more time and I’m going to continue
deleting the girl and the boy from this image
so we can have a clean background to work
with.
And by the way, I’ve been creating all these
layers, once I’m done I’m going to select
them all, and press Ctrl E so they’re all
in one single layer.
Okay, so I’m going to go ahead and pause
that video one more time.
Okay guys, I’m back.
As you can see I’ve gone ahead and deleted
the boy and girl off the background.
And it’s okay if it doesn’t match 100%,
this effect is going to be a video of course.
And people won’t really know what the image
looked like originally.
So, you have some creative license to do some…
some things to make things work.
For example, there’s three trees here that
I don’t think were in the original image,
and that’s okay.
And I created these trees with the technique
I showed you before I paused the video.
And what I did here, I just kept cloning that
same area over and over again and created
this road.
And, out of the green piece there I created
the entire row just by mixing and matching
colours.
And by the way, the same tree technique that
I use here, I used to create some of this
colour here on the green to not have it completely
green.
But anyway, now that the hard stuff is out
of the way, let’s do something fun.
Let’s add some 3D movement to this image.
So what we’re going to do is we’re going
to select the girl, the boy, and the background
layer, click on the 3D Panel, make sure the
3D Postcard selected, and click on Create.
Okay, our images have been turned into 3D
Postcards that are in 3D space.
Now, if I click and rotate the images, they
are all 3D but they’re all in different
3D spaces, and that’s not good, we need
them to be in the same 3D space.
I’m going to press Ctrl Z, that’s Command
Z on the Mac, to undo.
And I’m going to click on the Layers panel
and you can see the 3D layers here.
When need to select them all and merge them
into the same 3D space.
So I’m going to select them all.
And I’m going to press Ctrl E. And this
is going to put them in 3D space.
But, some of the layers disappear because
they way Photoshop arranges the layers is
the layer on top will be the layer that’s
behind all the other layers in 3D space.
So I’m just going to press Ctrl Z and I’m
going to go into Layers, Arrange, Reverse.
And this is going to change the order of layers.
So then when I press Ctrl E or Command E on
the keyboard, this time the layers are arranged
properly.
It’s really not that important.
You can change that here and Photoshop in
3D by moving the images in the Z axis.
But, it saves us some time and I kind of wanted
to show you that one trick.
It was actually one of the tips of the day,
if you remember.
But anyway, so now we have all our 3D layers
in one 3D space.
I can double click on this 3D layer and you’ll
see them here, girl, boy, background, and
our camera.
So I’m just going to go to Edit, and step
backwards because I moved the camera around
a little bit, and I want everything to be
in my default camera view.
And by the way, you can…
I could just double click on this and it would
have brought everything back to they way it
was.
So, now, I can now start moving these layers
around in 3D space.
And actually you know what, I’m going to
have to move this again one more time.
And, you can click on the background layer
and you can click on the Z axis blue arrow
here to move it back or push it back in 3D
space, like so.
Or you can use the slider here.
You can just push that back as far as you
can.
And you know, somewhere around 6,000 or so
is fine.
And then you’re going to move back the boy
as well.
And for him, you know what, why don’t we
just do 2000.
Let’s see how that works out.
And I can click on the Default Camera.
And this is what we have now.
As you can see we created some perspective
and our layers are in 3D space.
What we need to do now is make them larger
so they fill the entire canvass.
So, what I’m going to do now is actually
I’m going to zoom out, so I can see where
the canvass ends at all sides.
And I’m going to click on the background
layer first.
And I’m going to click on the Scale Tool
and I’m just going to scale this thing up.
So it’s still far away.
It’s only getting bigger.
So, it fills up the canvass.
I’m going to do the same thing for the boy.
Okay.
And, I’m going to click on Default Camera
just to make sure that I’m in the Default
view.
And this is how our image is going to end.
Now, we need to create the motion in 3D space.
So I’m going to click on create video timeline
to create our video.
And, in our canvass here… and by the way,
I’m going to zoom our more so I could see
the entire image as I work with the timeline
here.
So, we have this layer called “Girl” and
what that layer called “Girl” is actually
the 3D layer, so I’m just going to double
click on that and call it “3D Layer” and
then of course we have the original.
And I’m going to move that to the bottom.
And as you can see, any change I make here
it reflects on the timeline.
We’re now going to use the original image
for now.
One of the things you might want to do though
is just turn it on and see what the difference
is, and as you can see we matched it pretty
good in 3D space, so we don’t really need
this anymore.
And I’m going to click on this little arrow
here on the 3D layer.
I’m going to scroll down and I’m going
to find the camera position.
And I’m going to create a key frame.
So, Photoshop remembers these settings of
the camera and I want my composition to be
five seconds long.
And if I scroll up, I can actually move this
to the left here, which will determine the
length of my video.
I can move this back too actually.
So my video’s only five seconds long.
Now, I created this key frame here which remembers
what the camera’s looking at now.
But I don’t want that in the beginning,
I want that at the end.
So I’m going to move that key frame all
the way to the end.
That should snap right at five seconds.
Then, I can come into the beginning of the
video.
And move my camera around, maybe little bit
like this for example.
And if I come over and click play, you’ll
see the video that I just created.
So, Photoshop saw the settings I applied to
my ending key frame and to my beginning key
frame, and Photoshop went along and filled
in everything in between, which was at…
turned there.
So, what I need to do now is come back in
here and make more dramatic movements that
will be more visually appealing.
So, what I’m going to do is I’m going
to click on the Drag 3D Object Tool, which
is this one here.
And by the way, I’m going to make all my
changes here and this little square here on
the bottom.
So I’m only affecting the camera and not
the actual 3D objects.
So I’m just going to move that around just
a little bit like so.
And maybe zoom in to this guy here like so.
Maybe rotate that.
Okay, let’s see how that looks now.
I’m going to press Play once again.
Okay, that’s not looking too bad.
What I’m going to do is once I get here,
right about here, I’m going to have the
camera turn again and face the girl.
Maybe that’s not going to work as well as
I wanted to.
I need to make my background bigger and…
I don’t know if I’m going to be able to
do it, but I can… maybe move the camera
a little bit like so.
So I’m going to come back to the beginning,
press Play… and yeah, that’s looking much
better.
Okay, I think…
I think you got the idea.
So for your image or if you’re following
along with this image, you can keep playing
around and continue the different animations
you can create, but just remember that any
timer on the timeline and you move the camera
around, it’s going to create a new key frame.
And it’s going to follow whatever movement
you created.
So, if you make one accidentally just delete
it.
You can move the key frames around if you
want to.
If this particular movement is what you want
but it’s too slow, just bring in the key
frames closer together, maybe right here,
and right there, and press Play.
And that was a little bit faster as you can
see.
And we can even go faster than that.
That’s a little too fast for my taste.
I’m just going to leave it at where we had
it originally at five seconds.
And by the way, I’m pressing Ctrl Alt Z
or Command, Option Z on Mac to do multiple
undos.
Anwyay, so that’s it for the motion of the
camera.
As I said before, feel free to play around
in your image.
But now I got to show you something that’s
equally important, which is rendering out
this video.
Now, if you come into the flyout menu and
click on Render Video… you have different
settings, so let’s just work with what we’ve
got so far, which is the Adobe Media, and
quarter H.264, and 3D quality interactive.
So I’m just going to click on Render.
And this is real time by the way, as you can
see this is rendering pretty fast.
And we’re going to get a video, let me go
and open up that video.
And I’m going to press Play.
And as you can see, this is the video.
Now, there’s a few problems that you might
have already seen.
And it’s going to keep looping right here,
you’re going to see some black there.
I don’t know if you saw that.
And the edges are not as smooth as we would
want them to be.
You can still see a lot of black around the
different objects.
And we have to fix that obviously since it’s
not looking as good as it could look.
So I’m going to close this video and I’m
going to go back into Photoshop.
Now, when you do what a render with Photoshop,
you have to change the quality from interactive
to draft or final.
The problem is that these take some time if
you don’t apply the proper settings.
I’m going to cancel this for now.
And I’m going to select the Rectangular
Marquee Tool.
I’m going to come in to the girl’s hat
and make a selection like so.
And I’m going to click on the Render button.
So this is going to start rendering out.
And notice how long it’s taking just to
render this particular square.
It’s taking a while.
Now, imagine if you had to render the entire
sequence.
Right now we have it set to 30 frames per
second, so there’s 30 images in every second.
So you could imagine how long it will take
to render this entire sequence.
And I’m going to go ahead and stop that
render by the way.
And notice how the image is dark, the outline
is gone, but the image is way darker than
we want.
Now, if we go into Edit, Preferences in 3D,
we can change the quality threshold to something
much less.
The problem with that is that when we do we
render on that.
When it stops it’s going to have a lot of
noise in the image.
Now, the reason this happens is because in
our environment we have our shadow’s turned
on.
So you have to turn off your shadows.
And then do a render.
And notice how much quicker that was.
Notice that right away that line went away.
So, you can now come back and render your
video.
And you can just do a retrace draft.
If you do a retrace final it’s going to
take a lot longer and the quality won’t
be much better.
So, you can now do a retrace draft, click
on Render, and this is telling me that I already
have a file with the same filename, I’m
going to cancel that and I’m just going
to put a 2 next to that, I’m going to Render
it, and it’s going to take a little longer
than the previous video we rendered, but the
quality is going to be much better.
Okay, the video’s done rendering.
I went ahead and paused the recording, that
way you didn’t sit through the entire render.
That took about three minutes total.
So, let me show you what the video looks like.
And this is the video here.
And as you can see the edges are much, much
cleaner.
You don’t see any of the dark edges that
you did before.
The only problem that I see here is this part
of the girl, but that’s not part of the
rendering, that was the bad masking that I
did to begin with.
So, that’s what I was talking about earlier.
It’s better if you take your time masking
out your images, so you can avoid problems
like this, but it’s not a big deal you can
just go back and mask that out.
And this is our final effect.
One other thing, notice how I still made a
mistake here in the arm a little bit.
But it still looks like it’s part of the
image, and when you’re watching it entirely
without stopping it, you probably don’t
even notice that arm.
You think it’s his.
So it’s not a big deal.
Another thing that I noticed is that back
here on the background, this doesn’t look
good at all.
So, one thing that I could have done is maybe
move the camera around in an angle where you
don’t see this part.
Or I could have found an image of another
road and Photoshop that in, so it looked a
little bit better.
You can bring elements from other images if
you like.
But again, I don’t want to make this tutorial
longer than it had to be, so I said all of
that.
The real point of this tutorial is show you
the Ken Burns effect that you can create in
Photoshop and you no longer need Illustrator.
You can do it all in Photoshop.
I’m going to put the files on my website
alongside this video.
So you can just download them individually
in case you don’t want to waste your time
cropping the images and doing all that crazy
cloning to the background.
That way you can get to the fun part right
away.
And you can just follow along from there.
Alright guys, well thank you for watching
this tutorial.
And don’t forget to share this tutorial
with your friends on Facebook, Twitter, Google+,
Pinterest, or whatever you like to share your
stuff.
If you decide to follow this tutorial and
do your own Ken Burns effect, don’t forget
to send me a link.
You can either contact me on my website or
just share it on my Facebook page, and don’t
forget to subscribe to my newsletter where
you’ll not only get reminded every time
I put up a new tutorial, but you’ll have
access to my subscriber only tutorials, and
that’s 100%.
All you do is go to my website.
On the sidebar just enter your email address
and you’ll get an email right away with
access to the tutorials.
Once again, thank you for watching and I’ll
talk to you guys next time.
