Video editing: multi-frame selections ?

Hi All!
A few weeks I saw a video online that showed how to select a shape in one video frame and then spread that selection to that same shape in consecutive videos frames and then apply an adjustment to that multi-frame selection. But for my life I can't find that video again, and I know I wasn't dreaming.
And I'm almost as sure that it was about Photoshop video editing, but poking all around Ps I can't find how to do it, nor is googing finding any clues. At the least I'm sure it was in an Adobe program, if not Ps, as I believe I saw it on Adobe TV.
The video showed editing of video footage of a woman in a flower shop, and the project was darkening a too-bright porcelin bowl in the foreground.
Any help much appreciated!

Do you have Photoshop Extended? There are more video capabilities in the more expensive Extended edition.
I don't do video so I can't speak to your specific questions.
-Noel

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Editing video by half frames or less

I'm and audio guy trying to edit video, so I'm not sure if I'm using the correct terms, but can you slide video in Final Cut Pro by less than a frame? e.g. a half frame or 1/4 frame, or even miliseconds?
I know that in ProTools you can "nudge" audio around on many different "grids". Is is possible to view Final Cut Pro in a 1/2 or 1/4 frame 'grid'?
The goal here is to edit 4 video segments (or video 'tracks') that must line up with my 'clap board' start. I can see my 'clap' in the audio wave form for all 4 video tracks, but they are just slightly off, by a 1/2 and 1/4 frame. Hence I need to slide them just a bit to have them line up.
Thanks for your help, and I apologize if I'm not using the correct terms.
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Maybe this is just the difference between audio and video editing programs, not sure. Perhaps there are better video programs out there that can nudge video in smaller increments?
In the audio program I am running, ProTools, you can nudge audio by 1/4 frame or a sub frame. You can also set the grid to view these increments, thus you are able to 'snap' audio (and one track of video) to a 1/4 frame or sub frame grid.
Hence I could bring the video into ProTools and adjust it so that the very beginning of the video is where my 'clap' is, then import that into Final Cut Pro. However, this would add another step of processing the video and I may loose some quality. (ProTools converts the video during a 'bounce to video' step when exporting.)
For the record, in the audio world a 1/4 frame can be very obvious. The video I am working on shows three percussionists playing very complex 32nd-note patterns at 120 bpm. If the audio is 1/4-frame off, it sounds like absolute mud.
We tested two video tracks together, which were off by a 1/2 frame, and it actually looks ok. I was recording the audio simultaneously in ProTools so I'm using that audio anyway, so it will work out fine.
I still feel that Final Cut Pro should have the ability to 'razor' at the exact point you want to cut, then snap to the frame.
Thanks for the help.
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How to select and edit all frames in an animation?

I created a short animation for the first time yesterday, and I ended up drawing a few frames ouside the parameters of the stage. Now I want to adjust the position of the whole composition so that it all fits on the stage. Is there a way, like in photoshop with seperate layers, to select every frame and move them all simultaneously? Thanks.

Hi
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one of them call
Edit Multiple Frames
rollover them and the name will show up

Editing multi-camera in CS6

Looking for this page:
http://helpx.adobe.com/premiere-pro/using/editing-multi-camera-sequences.html
But for CS6, not CS5.5 and earlier. This stuff has changed for CS6, but I can't seem to find the help documents that talk about it, and we don't yet have the PDFs to look stuff up in. Anyone show me where to find it?

There is a pretty simple way to sync multiple tracks of video on the timeline using unnumbered clip markers. Basically you find the frame in each track you want the all the tracks to sync to and in each track add an unnumber marker at that point. Then there is a command that will move the tracks to line up those unnumbered markers and, shazam, you are synced! Here is an excerpt from a help discussion from Adobe:
Synchronize clips with markers
Make sure that you’ve marked the sync points for each camera’s footage before you attempt to synchronize them. You can mark the sync points by setting similarly numbered markers for each clip or by reassigning each clip’s timecode. (See Add markers and Set timecode manually for a clip.)
Note: Premiere Pro uses an overwrite edit when synchronizing clips. Take care not to overwrite adjacent clips if you have multiple clips on the same track.
Select the clips you want to synchronize.
Target a track (by clicking its track header) to align the other clips to it. For example, if you synchronize clips on their Out point, the end of each clip aligns with the Out point of the targeted track. A clip will be trimmed if synchronization causes its In point to fall before the sequence zero point.
Note: If one track of a linked audio/video pair is unselected, the pair will become out of sync. Out-of-sync indicators will appear on the clips.
Choose Clip > Synchronize, and then choose one of the following options:
Clip Start
Synchronizes clips at their In points.
Clip End
Synchronizes clips at their Out points.
Timecode
Synchronizes clips to the specified timecode. If you use the hours value in source timecode as a camera designator, select the Ignore Hours option to use only minutes, seconds, and frames to synchronize clips.
Numbered Clip Marker
Synchronizes clips to the specified numbered clip marker. Choose the marker number to use from the Marker menu.
You can also use the Synchronize command to sync several video clips on separate tracks or unlinked audio and video tracks when you are not editing a multi-camera sequence.

LCD Monitor for Video Editing: Resolution Concern

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If you run in anything other than the LCD's native resolution your graphics card will be resampling the image. This inevitably distorts the image as pixels must be discarded to create the display. Typically this softens the image.
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Three-Point Edit Missing Frames

Hello,
So I am exerpiance a very stange problem, with a very simple operation, and I have no idea why this is happening. I am using a three-point eidt to cover some heavy breaths in a voice over. I have 20 seconds or so of roomtone loaded into my source viewer. The roomtone has an in point a few frames in (to leave room for a transition) and no out point. On my timeline, I create an in and out point, around the audio I want to cover. The gap I am covering is usually only a few frames, a quick inhale, or weird mouth noise. I have done this, many times no problem.
Today, everytime I overwite to replace the audio on the timeline, the clip is a few frames short of my selection. So, for example, I have a 14 frame selection in my timeline. When I overwrite, PP is only placing 11 frames from my roomtone clip. Again, roomtone is over 20 seconds, loading in the source viewer with only an in point. Timeline as both in and out point, so it's a proper three point edit setup, and the is way more then enough material to cover the selection.
If I have to roll out every clip I cover, it's going to be a long day, so any help would be apperciated. I am using Premeire Pro CC (Version 7.2.1) on a Mac (OS X 10.9.1). I have uses these exact versions before, and not had this issue.
Thanks,
J

This has been a challengeing little problem for me. Each time I think I have norrowed it down it crops back up. That being said I have come up with a work around, that is working consistently. I thought I would share it, incase someone else has the same problem.
The room tone clip I use has video, but normally, don't patch it to the timeline. I noticed that when I did patch the video in, the correct number of frames where placed on the timeline. So I added an extra track above all the others, turned visibility for that track off, and patch the video there. When I was done with that sequence, I simply deleted the extra track.
Still not as good as an actual fix, but much less time consuming then having to adjust each edit.

Lightroom 5.2 DSLR video edit - spot removal

Video editing is not currently supported in the Develop module.
Thanks to Julieanne Kost's Adobe TV module "Working with DSLR video", I know there is a workaround.
I know that I can use a develop module preset to apply an edit from a captured frame of video.
Most, but not all develop module settings are availalbe via this technique.
One setting that is not is "spot edit heal".
I have a small dust spot that appears in every frame of video in a blue water background shot underwater with my housed Nikon D7100.
Is there a way to remove it with Lightroom?

Well if you have a recent version of PS there are certainly a lot of possibilities to work with video. On Mrs. Kost's fabulous site you will find a lot of information about working with video in PS.
I know this is a LR forum but may I give a quick hint? Open your clip in PS and change your workspace to "Motion". Select the video layer and choose Layer - Smart Objects - Convert to Smart Object,
Now you can use Filter - Camera Raw filter. This gives you about the same possibilities as Lightroom's adjustments, including Spot removal. Since you turned your video layer into a Smart object, the adjustment will be applied to every frame.

Music Video Editing 101

I posted this a few years back - before it rolled off the end of the discussions, I moved it to Dave Slater's ProAppTips.com which is currently in limbo due to hacker problems, but he retrieved the text for me and I thought it might be handy to post now. I should update it for using MultiClips, but they can be problematic, depending on how the video was shot and the timing/overlap of the coverage available (see: MultiCam and Music Videos). For now, I'll just post it as it was originally written.
_*Music video editing 101*_
Although I've cut probably over 250 music videos, this is only how I work. What works for you may be entirely different and more productive for you. I am not here to champion these techniques and I invite anyone else to post how they do it.
Okay down to business. Digitizing material: I capture all the available material, preferably in 20-30 minute chunks. Among other things, the large chunks can come in handy if there is a discrepancy between the timecode on the offline tapes and the master tapes. I watch the material as it comes in and note anything of interest (cool shots, etc). After capture, I go thru and put markers at the start of each take and scene. I'll go into the philosophy of logging/overlogging later.
Now, music videos can most often be divided into two sections - performance and concept (or story). The first thing to tackle is the performance. Not only is this locked to the areas of the song being performed (barring cheating choruses or other repeating stuff), but it helps you to know where you want to put the story (which is where your performance coverage is the weakest).
How I cut performance is this. First, I try to pick a good overall base take of performance - this is often a wider shot that covers the whole band. I usually have chosen this take while watching the material as I capture. I put the master audio in the sequence and cut this video take onto V1. This is because I find it easier to cut into something rather than cut a shot into black. Now I go back and start at the first take and hopefully there was a smart slate used, but however I do it, I get the take lined up so that the frame in the viewer is at the same point in the song as the frame in the canvas, then set gang sync (I have a this mapped to a keypress).
I then play what I have in the viewer until I see something I like. Now, because I've ganged the edit with this take, it's been following along, so I can quickly pop over to see what is at that point in my edit and see if what I just saw in the take looks better. If it does, I cut it in, If not, I can ignore it, or cut it onto V2/V3/V4, etc and set its visibility off (ctrl-b). Why would I do that? Maybe later I need to change the shot because the singer doesn't like himself from that side, or I need more shots of the drummer, or I've changed the edit and the shot doesn't work anymore, or maybe I'll be able to cheat it in at another point of the song. The point is, I'm going thru the material now and I might as well save anything I like so I won't have to look for it later. Tossing it onto a higher video track keeps it in sync with where it should fall in the song.
Now go I back and keep playing the take and when I see the next thing I like, repeat the process. I continue this until I've finished the take. Then I repeat this for all takes. It's time consuming, but I've found it to be the only way to ensure you've given due consideration to all the material and you can say you have the strongest performance in your edit. And your goal is to make a performance cut so tight that it will be painful to give up areas of it to concept. I also keep a bin/sequence of non-sync cutaways - maybe a drum hit, maybe a look from the lead singer, maybe a bass riff. These are important to your cut, but you can treat them like concept - i.e. you can put them anywhere you need to.
When you've finished your performance cut, duplicate your sequence (You might also have done this during stages of your performance cut, just to keep backups). The reason you want to now is to always have a pure performance cut to go back to.
Now consider the concept. Sometimes it warrants cutting it all together as a story complete, other times it will only function as cutaways or it illustrates specific lines in the song, etc. However you get the concept organized, the performance cut will provide a roadmap as to where to place the concept. Sometimes it's blatantly obvious (like you have no performance for a certain area), other times (if you've done a good job on the performance cut) it will be a struggle to find where to put it. I always keep my performance on its own layer/s and add a new layer for the concept. This is to allow ease of re-arranging the story. If you have it on its own layer, you won't need to replace the missing performance if you shift the concept around, you'll just reveal the existing (wonderfully tight) performance below.
I could go on and on about this, but those are the basics. As to timing, I usually allow myself 2 days for capture and performance cut. Third day is concept. Fourth day massaging the overall edit. Send off that night for comments. Fifth day is changes from artist/label/management. Lather, rinse, repeat.
Finally a bit about logging of footage. When I first started editing, it was on a linear, tape-based system. So I had a wall of thermal printouts to guide me to my selects and whenever I needed a specific shot, it usually involved a lot of shuttling thru tape. An inevitable beneficial fallout of this work flow is that I'd often find a better shot than the one I was searching for, simply because I had to shuttle to find my intended shot.
This fostering of happy accidents was lost when I started editing non-linear. Because I could instantly go where ever I wanted, I only ever found what I wanted and lost a certain spontaneity to my edits. They became more predictable. It took me a little while to realize this and to come up with some solutions.
First of all, I don't overlog footage. None of this clips named "The one where Jack finds the beans and discovers the true meaning of friendship in wide shot with the cow OOF over his right shoulder (sky has clouds)". I make it so I always know where to find my shot, but not so I can just get there without shuttling a bit. Also, I try to keep a sequence of selects. Shots that I like, but haven't found a use for yet. Thats where I always go to find a shot I need - that way, shuttling thru the sequence, I am exposed to shots that I know are good and may be better than the shot I think I am looking for.
Anyone else want to post their work flow?
Patrick

Great workflow Patrick. The one main thing missing that I use in music video editing is the grouping of multiclips to group all of your performance takes into one clip. For those that haven't used this then you have access to all performance takes at any given point in the song. This is handy as you might have 50 to 100 takes on some videos. The thing that makes a grouping of multiclips easy is the use of a timecode slate and an audio master (though aux code grouping can be done without it). You then assign an auxiliary timecode to each take and group your mulitclip by that. In avid land I subclip a masterclip by takes. Unfortunately Apple has done a really dumb thing in FCP. When you make subclips from a master clip and assign auxiliary timecode it will ripple the aux code of other subs from the master clip. Completely useless for music video. The solution is to capture each take in its own master clip but that is a long and tedious log that for me is totally not needed for a music video. I wish Apple would address this (it as been discussed in this thread) but it has been unchanged since the introduction of multiclips. That's why I always cut my music videos in Avid.

Adobe Premiere Pro Help | Editing multi‑camera sequences (CS6)

This question was posted in response to the following article: http://helpx.adobe.com/premiere-pro/using/editing-multi-camera-sequences1.html

According to the tutorial at http://www.video2brain.com/en/videos-13067.htm audio now defaults not to Track 1 of the source sequence as it used to, but to the video first selected when choosing between the multiple cameras.
I understand TimB was wishing to mix audio in the audio mixer in the source sequences and apply that to the multicam sequence without export audio and re-importing.
According to my notes to self in June 2012 when I used CS6 to do a multicam project, I wrote:
“To enable audio for all cameras, right click on the Source Sequence and ‘Open in Timeline’
Enable all the audio tracks you want.”
And that was all.
However the PremPro instructions for CS6 says:
Enabling audio in the multi-camera source sequence
By default, Premiere Pro only enables audio channel one in the multi-camera source sequence. For multi-camera editing workflow, enable each audio track manually before editing the target sequence. To enable audio tracks for the multi-camera source sequence, do the following:
1. Open the multi-camera source sequence by selecting the multi-camera source sequence icon in the Project panel, right-click
(Win) or Ctrl-click (Mac OS) the icon, and then choose Open In Timeline.
2. The Timeline opens. Select the audio tracks, and then enable the other audio tracks by clicking the Toggle Track Output
button for each audio track.
3. Now that all audio tracks are enabled, you can close the sequence
This is how I remember it but it doesn’t gel with TimB’s post. There are two sections in the Help pdf, one for CS5.5 (and I think CS5) and a separate one for CS6 as quoted above.

PE12 does not default to last project video edit setting

My PE12 video edit setting is defaulting to HD1080i25 (UK region default). I need AVCHD1080p50.
I have set a new project to AVCHD1080p50 and saved. Exit PE12 then re-start. It still creates new project at 1080i25.
The documentation says PE12 should remember the last used setting.
What is going wrong?
thanks
Audrie

Audrie
Allow me to go over some details to make sure that your details are not being misinterpreted by me or anyone else here.
1. You open a new project in Premiere Elements 12 and you want to edit your 1080p50 video in it. Who is setting the project preset, you or the program?
a. If you, are you using File Menu/New/Project Change Settings and Changing the project preset = PAL AVCHD AVCHD 1080p50, making sure that you have a check mark next to "Force Selected Project Setting on This Project" before you leave that area. Then, when you are back in the Expert workspace, are you using Add Media/Files and Folders/Project Assets for the 1080p50 import.
or
b. If the program, are you first using Add Media/Files and Folders/Project Assets from where you drag your 1080p50 to the Timeline? If this is the case, have you determined what the program has selected for the project preset based on the properties of the first drag to the Timeline? (See Edit Menu/Project Settings/General and the readings for Editing Mode, Timebase, Frame Rate, and Pixel Aspect Ratio, even if those fields look grayed out.
The program does not always give the correct project preset. When it does not, it does not give you the closest to what you have. It gives its default, which is in your case, PAL AVCHD Full HD1080p25.
Now here is the question...are you saying that, after you save close reopen your program, you discover somehow that you project is 1080p25 instead of 1080p50. If so, how are you making that determination at that time. Once the project preset is set by you or the program for a project, that project maintains that project preset for that particular project.
So when you point to documentation that says
The documentation says PE12 should remember the last used setting.
Please give a link to such documentation. Premiere Elements 12 cannot even remember workspace in the dual monitor set up when the same project is saved closed reopened.
A new project will always open to NTSC AVCHD Full 1080i30 or its PAL counterpart. After that
a. You set the project preset based on the properties you know for your source.
or
b. The program sets the project preset based on the first drag of the source to the Timeline (if it cannot, then your project preset is for NTSC or PAL AVCHD Full 1080i30.
http://atr935.blogspot.com/2013/04/pe11-accuracy-of-automatic-project.html
http://atr935.blogspot.com/2013/04/pe11-dual-monitor-workflow-concerns.html
Please review and consider.
Thank you.
ATR.

Creating GIF images, how do I edit all frames at once?

Hey everyone. So I now how to make GIF images already. The problem I'm having is that I can't seem to figure out how to edit all the frames at once. I would like to brighten them up and add curves, maybe sharpen.
I tried selecting all the layers, but then all the image editing options greyed out and weren't available.
I really don't want to individually edit 58 frames, lol.
Is there a way to edit all at once?
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What are the capabilities of video editing in Photoshop?

I only have Photoshop CS5 and would like to edit video footage I have of my college fashion show, my portion of which is about 3-4 minutes long. One video I have is taken by a hand held camera and I would like to somehow blur or crop out the distracting audience, which I know will be difficult because the camera is a little unsteady. My other footage is from the official DVD and is taken straight on from a steady camera. I want to splice the two videos together so you can see all angles of my designs. I think I will need to overlay a new soundtrack (just a song in my library) as well. How much of this is possible in Photoshop, and for an advanced Photoshop user but a complete novice at anything video related, how difficult will this be to acheive? How time intensive? Before I delve into researching tutorials and online resourses, I really would like to know if it's even a feasable project. Many thanks!

I do not do video editing but I just took a look at cs6 video timeline. It looks like it is very easy to splice video clips together and add an additional audio track that would span the entire spliced video. That left me with the question could you blur or delete your audience. It also looks like that would also be easy. I dropped the sample window windows media video clip onto CS6. In the layers palette I converted the video clip to a smart object and made a selection around the outside to represent your audience, added a smart filter a gaussian blur and rendered an mp4. http://www.mouseprints.net/old/dpr/Wildlife.mp4

Trouble with editing multiple frames

Hi guys,
I'm new to CS4 - learnt my flash many years ago on Flash 5. So anyway I'm trying to get used to the new Motion Tween function and having a few problems.
I've created a simple animation where an object fades in, stays put for a moment and then fades out (one motion tween with 4 keyframes). I now want to resize the movie clip across all of these keyframes cos I got it wrong to start with.
So I click 'Edit Multiple Frames' (everything disappears but that's for another question), drag the onion thingy across the timeline and select the frames on the layer I want to edit. I then click on the free transform tool and drag the invisible movie clip (you can see the outline!) to make it larger.
Result? Well it seems to scale the first frame, but the others are all left at the original scale. Hence animation now shows object fading in whilst getting smaller etc. etc.
There must be an easy way to do this. I've tried the motion editor but you have to do it keyframe by keyframe. Any suggestions?
Thanks
Ben

Modifying an entire animation with motion tweens is not as easy as it used to be.
Here's the best answer you are probably going to get.
from : http://flashthusiast.com/2009/10/06/scaling-and-moving-new-motion-tweens-in-flash-cs4/
Scaling an entire animation that does have Scale X or Scale Y animated.
If you have previously scaled anything in the tween, doing this is applied to the first keyframe and the tween would animate to the earlier scaling (the auto-keyframing feature can be a detriment in this situation, especially when it comes to scaling due to the percentages being reset - for this reason Motion Presets also won’t help). In this situation, I recommend scaling using the Motion editor:
1. Go to the Scale X and Y properties in the Motion Editor.
2. Press the Alt key while dragging the curve in each graph up and down. This scales the entire scale animation at the same time (same as edit multiple keyframes).
3. If you need to proportionally scale the motion path for the tween as well, select the path on the Stage and use Free Transform or enter a new value in the Transform panel.
I have had success with the above method, but from what I can tell you can only do one property at a time on one object at a time. So it is an awful amount of work.
As for step 2: while dragging the whole curve it seems the property value is very reluctant to snap to whole integers and I often see values like 200.35%.
Same thing applies for dragging property keyframes up and down in the motion editor. Is there a way to get nice clean numbers? I I want to scale something by 50% I don't want 49.83% I find myself often keying in these values by hand.
For me even though scale X and scale Y are "linked / locked / contstrained" It seems I get mixed results with this feature. Changing scaleX doesn't always change scaleY

Multiple Hard Drives for Video Editing with Premiere Elements 8?

I'm using Premiere Elements 8 for video editing. These are the specs I'm using:
The camcorder I used to shoot the footage is a Sony Handycam with model number HDR-SR12. It's a digital HD video camera recorder that shoots in NTSC 1920x1080i HD recording. The footage was shot with AVC HD 9M (HQ), which records in higher image quality mode. The video camera is connected to my computer through a USB cable.
The computer itself is a Windows 7 desktop computer. The CPU is an HP Pavilion Elite HPE-150f PC with Intel Core i7-860 processor. I imported the video into Premiere by selecting "File" --> "Get Media From" and then choosing the third option from the top.
My import option is NTSC/AVCHD/Full HD 1080i 30 5.1 channel, which matches the specs of the camera I shot the footage with.
Even with the patch 8.0.1 that should be preventing crashing, the program keeps crashing upon startup with one specific video project. Using the exact same video files for that project, I recreated the video, with Elements, and never ran into the problem. Both times, I had the patch installed.
At the moment, I am using only the single internal hard drive for everything (software, OS, video editing, etc.). It is 1 TB in size. However, I am informed that one hard drive is not recommended for video editing, and that I need at least two hard drives, one for OS and one specifically for video editing. I was also informed of FireWire 800 and eSata; however, it does not appear that my computer supports eSata.
Can this problem be resolved if I have an external hard drive and connect it to my computer with FireWire 800 (which the computer supports)? If not, what can be done so this problem doesn't arise in the future?
Thanks for the help.

staring-into-space wrote: My import option is NTSC/AVCHD/Full HD 1080i 30 5.1 channel, which matches the specs of the camera I shot the footage with.
When you import the footage is there a red line across the whole of the timeline?
staring-into-space wrote:
I recreated the video, with Elements, and never ran into the problem.
As you have the recreated project working fine I'd be inclined to put this down as a one-off glitch. If it happens again on a different project then it may be more worrying. You may want to consider using save-as to create multiple versions of your project (note this does NOT duplicate the source clips - so you won't be eating up much extra disk space). You could for example use save-as to create a daily version - ProjectName-Mon, ProjectName-Tue etc....
Cheers,
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Insanity is hereditary, you get it from your children

Video editing: multi-frame selections ?

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