Tài iệu Photoshop cs5 by Dayley part 116 pdf

Chapter 26: Animating in the Animation (Timeline) Panel
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FIGURE 26.14
Fading out the Adjustment layer is the difference between night and day.
Animating Layer Styles
Animating Layer styles is the most diverse of the animation capabilities in Photoshop. Animating
position or opacity changes just one setting of the layer selected, but there are ten different layer
styles. Every time you change the setting of any one of these styles, you can create a keyframe. Use
the styles one at a time or together, or bring styles in and out at will. Adjusting layer styles is the
capability to animate a mind-boggling amount of special effects.
Layer styles can be added to a layer by clicking the Layer Styles icon (the fx) at the bottom of the
Layers panel and choosing a style from the list. When you select a layer style, the Layer Styles dia-
log box opens. From the dialog box, you can edit the properties of the layer style you selected and
select additional layer styles, as shown in Figure 26.15.
Cross-Ref
The individual Layer Styles and their settings are covered in detail in Chapter 21. n
After you add a layer style, click the Time-Vary Stopwatch next to the style property. Adjust the
current time indicator, and double-click the layer style in the Layers panel to bring up the Layer
Styles dialog box again. Making any change in the Layer Style dialog box—such as adjusting the
settings, adding a style, or deleting the style—creates a new keyframe. If you are over an existing
keyframe, the changes you make to the layer style change the settings for that keyframe.
In Figure 26.14, I created an Adjustment layer over the lion and animated it by fading the opacity.
You can fade the opacity of a layer style, but not using the opacity setting in the Layers panel. You
need to set the opacity of the style in the Layer Style dialog box.
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FIGURE 26.15
The Layer Style dialog box
Most of the time, animating layer styles is just plain fun. By animating a bouncing ball in conjunc-
tion with animating an inner glow, you can create the illusion of breaking a light bulb out of the

lamp shown in Figure 26.16.
FIGURE 26.16
A lighted lamp minding its own business
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You can break the lamp by bouncing the ball in the house following these steps:
On the Web Site
For this exercise, you can find a PSD of the lamp saved as Figure 26-16 on the Web site. n
1. Open Figure 26-16, a PSD file that contains the lamp with an inner glow effect
applied to it and the ball as separate layers that are ready to animate.
2. Select Window ➪ Animation to open the Animation (Timeline) panel.
3. Click the triangle next to the Ball layer in the Animation (Timeline) panel to open
the layer properties.
4. Click the Time-Vary Stopwatch next to the Position property.
5. Create several keyframes throughout the position property to animate the ball
bouncing around the canvas.
At some point, have the ball go up under the lampshade. From there, the ball drops
straight down, bouncing once or twice before coming to rest.
6. Click the triangle next to the Ball layer to close the layer properties.
7. Click the triangle next to the Lamp Copy layer to open the layer properties.
8. Move the Current Time Indicator to the beginning of the timeline.
When you animate the Layer Style of the lamp shade, you want the glow to be on in the
beginning of the animation.
9. Click the Time-Vary Stopwatch in the Styles property to activate keyframes.
10. Drag the current time indicator to the moment when the ball goes up under the
lampshade and hits the light.
11. In the Layers panel, click the eye next to Effects on the lamp Copy layer.
This turns off the light and creates a keyframe in the Style property.
12. Select both keyframes in the Style property by clicking the property name or by

dragging a selection marquee around both.
13. Right-click one keyframe, and choose Hold Interpolation.
This causes the light of the lamp to go out instantaneously instead of over time.
14. Rewind and play back your animation, making any adjustments necessary, as
shown in Figure 26.17.
Tip
As you create animation files with several layers and styles, you’ll find that the playback goes slower and
slower. To get a better feel for the speed of your project, choose Allow Frame Skipping from the Animation
(Timeline) panel menu. This allows Photoshop to skip frames in playback mode. This helps playback go much,
much faster, if a bit unclean. The final rendered product contains all the frames specified in the document
settings. n
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FIGURE 26.17
Bounce the ball under the lamp shade, and turn off the visibility of the lamp’s inner
glow to create the effect of the ball breaking the lamp.
Animating the Global Lighting
In discussing the layer properties, I neglected to mention Global Lighting. That’s because Global
Lighting is not a layer property; it is a property that is constant throughout the project. You can see
in the Animation panel that it sits, like the comment timeline, independent of any of the layers in
the panel, as shown in Figure 26.18.
FIGURE 26.18
Global Lighting in the Animation (Timeline) panel
The lighting is set in a layer style that requires an angle of light, such as the drop shadow or bevel
and emboss. In any of the settings for these features, you can select Global Lighting, indicating that
you would like the light settings to stay consistent throughout all the styles applied to that particu-
lar layer. After you’ve done that, anytime you change the setting of the light in any of the layer
styles, the light changes in all other applicable styles.
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Chapter 26: Animating in the Animation (Timeline) Panel
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Global Lighting on the Animation panel affects the entire project, changing the light settings for all
applicable styles throughout the layers. You animate Global Lighting just as you would any layer
property, by clicking the Time-Vary Stopwatch and setting keyframes, changing the lighting posi-
tion at each one.
In Figure 26.19, I animated the Global Lighting of the boy’s shadow. It moves gradually from one
side to the other, giving the illusion that in true teenage style, this boy is just hanging out all day.
By animating the Global Lighting, I ensured that any other special effects I might add to this file
are lighted in the same way.
FIGURE 26.19
Animating the Global Lighting moves the shadow in the animation from one side of the boy to the other.
Animating Text
Text is just like any other layer in the Animation panel: you can edit it by changing its position,
opacity, or style. This is a fun and easy way to create fun captions or credits for animations, videos,
or slideshows. Text has one more property that can be animated. The Text Warp property can be
animated as well. Creating keyframes in the Text Warp property lets your text squirm all over the
screen.
You animate the Text Warp by creating a text layer and opening its properties in the Animation
(Timeline) panel. Of course, the layer properties that you want to animate must to be activated,
so click the Time-Vary Stopwatch in the Text Warp layer as well as any other layer you want to
animate.
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Now all you have to do is make the changes. To warp your text, simply choose the Warp Text option
from the options bar that appears at the top of the Photoshop work area whenever you have the Text
tool highlighted. You open a Warp Text dialog box where you can set just the kind of text warp you
want, as shown in Figure 26.20. From the drop-down list, you can select several types of warp, such
as Arc, Wave, Flag, and so on. Then you can adjust the look of the warp you have chosen by moving

the sliders in the areas of Bend, Horizontal Distortion, and Vertical Distortion. When you are fin-
ished, click OK. The warp is created, and so is a keyframe, as show in Figure 26.21.
FIGURE 26.20
The Warp Text dialog box
Now you can move on, creating a keyframe whenever you want to change the warp of the text or
any of the other text properties, and really give your video some punch! You can see an example in
Figure 26.22.
Animating Masks
When you add a mask to a layer in your image, you add two more properties of your layer that can
be animated. You can animate the Mask Position or the Mask Enable.
Animating the mask position allows you to change the position of the mask along with the position
of the layer itself. If you have a mask created over a layer and you change only the position of that
layer, the layer actually moves through the mask, changing which areas of the layer are visible. In
order to keep the mask in place, you must animate the position of the mask as well.
Of course, you also can animate the mask without animating the layer position to create a unique
effect. In some cases, you must animate the mask to create the illusion of movement in your layer.
If you create a shape, for example, notice that a layer mask is created over a fill over the entire doc-
ument. You can’t really animate the position of a color fill with any noticeable results, which is
why I had you rasterize the shape layer in the first example given in this chapter, but you can ani-
mate the position of the mask to create the illusion that the shape is moving around the document.
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FIGURE 26.21
To begin animating text, add the text and choose a starting position for it.
You also can use the Mask Enable animation property to turn masks on or off in an animation.
This property works only with a Hold interpolation. In other words, the mask is enabled or dis-
abled, never halfway in between.
Tip
Because the Mask Enable property cannot contain Linear interpolation, you can’t dissolve a mask in or out.

You can create the same effect, however, by creating two layers. The first contains the unmasked area and the
second contains the previously masked area (no mask would be needed in this case). Then you could animate
the opacity of the second layer. n
Rotoscoping Basics
In the previous sections, I showed you how to employ the basics of animating using keyframes in
the timeline. Keyframes are very limiting, however. You can’t animate filters or even paint over
time with them.
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