Overview of Timeline Panel

Opening the Timeline panel (“Window” → “Timeline”) allows you to select between two types
of timelines: video and frame. The frame timeline is for frame-by-frame animation and can be
very limiting. It generally works by converting the layers in your Layers panel to individual
frames. I won’t go into any more detail on this timeline; I want to focus on the video timeline.

VIDEO TIMELINE
The video timeline allows for keyframe animation — which is an animation process in which
you define key points of animation along a timeline and Photoshop will interpret the in-between
frames to create a cohesive animation. Let’s go ahead and create a very simple animation to see
how this works.
As you probably noticed from the image above, the video timeline shows a representation of
layers in the Layers panel. Each layer in the timeline has a dropdown panel that exposes the layer
properties (these are the properties that can be animated). To animate a layer property, simply
click the stopwatch icon, which enables keyframe animation. Notice that a keyframe is
automatically placed at the current time indicator.

Move the current time indicator to another point in the timeline and reposition the layer. Again,
another keyframe will automatically be added to the timeline.
Playing back the animation shows how the object on the canvas moves from one position to the
next.

Photoshop automatically creates the animation in between the keyframes.

LAYER TYPES
Now that we have a good idea of how the animation process works in Photoshop, let’s take a
closer look at the common layer types that can be animated. Because different layer types have
different properties to animate, pay attention to which layer types are being used.
The standard (pixel) layer is a layer that contains pixel information. This is the most common
(and most basic) layer in Photoshop. Layer properties include:

 position,
 opacity,
 styles.

Adding a layer mask or vector mask to any layer will introduce additional properties specific to
that mask. Layer properties that are added to the layer’s existing properties include:

 layer or vector mask position

 layer or vector mask enabling
A shape layer contains a shape (whether from one of the shape tools or the Pen tool) or a line
segment. Because shapes and line segments are built with vector mask information, those mask
properties will appear in addition to the other layer properties. Layer properties include:

 position,
 opacity,
 styles,
 vector mask position,
 vector mask enabling.

A text layer contains editable text. If text has been rasterized, then the layer will no longer be a
text layer, but rather will be a standard layer with pixel information. Layer properties include:

 transform,
 opacity,
 styles,
 text warp.
A smart object can contain any one or combination of the above layer types. A smart object acts
like a wrapper for any layer, preserving the original layer while using a new set of properties.
These properties include:

 transform,
 opacity,
 styles.

A word of warning when using smart objects. Because a smart object preserves the original
quality of the layer or the set of layers it contains, it can be scaled and rescaled without losing
quality. However, it cannot be scaled any larger than the size of the original layer it contains.
Doing so would cause the smart object to lose quality.
At this point, I want to mention two other layer types — a video layer and a 3D layer. Both of
these layers are completely unique from the other layer types mentioned. The video layer is
actually a layer group that contains its own set of properties, while the 3D layer — besides
containing a unique set of properties — is manipulated in an environment entirely separate from
the other layers, adding to the level of complexity. Due to the uniqueness of these two layer
types, I will not go into detail here. You can see how both layers are represented in the timeline
below:
LAYER PROPERTIES
Now that we have a grasp of the different layer types, let’s examine the different properties that
we are able to animate. Knowing how each property works is important to understanding their
limitations and how to get around them. Let’s look at the common animation properties.

The Position property allows for movement along the X- and Y-axis. Manipulate the position of
an object by using the Move Tool.

The object’s Position property was keyframed to move the ball back and forth along the x axis.
Opacity allows you to keyframe the opacity of a layer. The Opacity control can be found in the
Layers panel.

The object’s opacity was keyframed at 100% and 0% to create a fading animation.
The Style property allows you to keyframe the layer styles of a layer. Access the layer styles by
double-clicking a layer in the Layers panel.
The object’s layer styles (Bevel & Emboss, Color Overlay, and Drop Shadow) were all
keyframed to create a pulsing animation.
The layer mask or vector mask position keyframes the x and y positions of each mask. It
works best when the mask is not linked to the layer.

The mask’s position is keyframed to scrub across the layer, revealing the background layer.
Enabling or disabling a layer or vector mask is also possible. To enable or disable a layer
mask, go to “Layer” → “Layer Mask” and select either “Enable” or “Disable.” For vector masks,
go to “Layer” → “Vector Mask.” Alternatively, you can “Shift + Click” the mask in the Layers
panel to toggle on or off.

The mask is keyframed to be enabled, then disabled after a short time, causing a reveal.
Specific to text layers, the Text Warp property allows you to keyframe any text warp applied to
a text layer. You can access a list of text warp effects by going to “Type” → “Warp Text.”

A Flag warp was applied to the text and keyframed to create a warping animation.
The Transform property allows you to keyframe transformation to a layer. Various
transformations (such as Rotate and Scale) can be accessed by going to “Edit” → “Transform,”
or by pressing Control + T to enter Free Transform mode.

The object’s Scale and Rotation are keyframed to create a spinning star that grows and shrinks.

USING TEMPLATE LAYERS WITH SMART OBJECT ANIMATIONS

Because smart objects can contain multiple layers, we can create temporary layers that act as
templates to help us create more complex animations. For example, in the animation below, I’ve
created a red dot that moves around in a circle. Typically, this would be difficult to create,
requiring many keyframes. With smart objects, we can use template layers to simplify the
process.

A red dot moving around in a circle.

In the scene below, I have created two layers: one with a red dot, labeled “Dot,” and the other
with a large gray circle, labeled “Template Shape.” I’ve added hash marks to the large gray circle
to better demonstrate movement.
To start, I’ll select both layers and convert them to a smart object. This can be done by right-
clicking one of the selected layers and choosing “Convert to Smart Object” from the pop-up list.

Now, we can animate both objects as a single layer. Because this is a smart object, I have access
to the Transform property in the Timeline panel, which allows me to keyframe rotation. I’ve
added a keyframe at each half rotation, for one full rotation. The result is the circle, rotating 360
degrees.

Step 3: Both layers rotate as one.

Now that our animation is working, we’ll need to remove the template shape. To do this, double-
click to edit the smart object’s thumbnail in the Layers panel. Once the smart object is open, we
can hide the “Template Shape” layer.
All we need to do now is save the smart object document and return to our original document.
We can see that our red dot moves around in a circle without the gray shape in the background.

ANIMATING FILTERS
Now that we’ve learned how to embed animations inside smart objects, we can use this same
technique to animate filters. If we add a filter to a smart object that contains an animated layer,
the result will be an animation that plays through the filter.

Step 1: Smart object animation of a yellow dot moving across a red background.
Because our animation already resides in a smart object, I can add a filter directly to it. In this
case, I’ll go to “Filter” → “Distort” → “Twirl.”
The filter has been applied to the smart object itself, rather than pixels of its contents. Therefore,
the movement of the animated pixels through the filter has a unique effect.

ADDING LAYER STYLES TO SMART OBJECT ANIMATIONS

Layer styles can be applied to animated layers much like regular layers. They are also useful in
other ways. I’ll show you what I mean.
In the scene below, I already have a smart object that contains a simple animation of a dot
moving across a white background.

Step 1: Simple smart object animation.

My goal is to apply the Bevel & Emboss layer syle to the dot. However, If I try to apply the layer
style to the smart object at this point, it would affect the entire smart object, white background
and all.

Step 2: Layer styles are applied to the image as a whole.

To fix this, I need to remove the white background. Earlier, I mentioned that we could edit the
smart object to hide extra layers. In this example, I want to demonstrate another method.
As long as there is good tonal contrast between the layers, we can use the Blend If options in the
Layer Styles panel to remove the background. Double-click the smart object layer to open the
Layer Styles panel, and adjust the “Blend If” → “This Layer” slider until the background
disappears.
Tip: Holding down Option will separate the sliders, causing a smoother transition.

To finish this method, right-click the layer in the Layers panel and select “Convert to Smart
Object.” This will create a new smart object that preserves the changes we’ve just made.
Now, when we add a set of layer styles to our animation, the effect will be applied only to the
object.

CHANGING AN ANIMATION WITH ADJUSTMENT LAYERS

Adjustment layers act the same way with animated layers as they do with regular layers. As long
as an adjustment layer is above the layer that contains the animated keyframes, the animation
will inherit the adjustments. With this in mind, we can use adjustment layers to create some truly
unique effects.

Step 1: Grayscale animation of two dots.

Because the entire scene has been created in shades of gray, I will use the Gradient Map
Adjustment layer to introduce color. Once I’ve added the adjustment layer, I can use the
Properties panel to make the following adjustments.

The resulting effect is an animation that has been colored based on the properties of the
adjustment layer.

CREATING ORGANIC EFFECTS WITH ADJUSTMENT LAYERS

Organic animation effect.

Let’s learn how this is done. To start, I’ve created another simple animation with two layers, one
passing over the other. The only difference is that both layers have been blurred.
Step 1: Blurry dot animated over another.
Now, we’ll add the Levels Adjustment layer. Use the Properties panel to bring in the shadows
and highlights sliders until the edges of the objects are crisp.

Playing back the animation will give us a unique organic effect.

CREATE A CLOCK WITH MOVING HANDS

Animation of the hands of a clock.

The scene starts with two new layers: One contains the shape of a minute hand (in red), and the
other is our template object (in gray).
Just as we learned earlier, we will convert these two layers into a smart object and animate the
rotation.

Step 2: Layers combined as a smart object are animated as one.

To lock the animation, convert the layers into another smart object. This will allow us to
transfrom (Control + T) the smart object so that it appears to be in perspective, as seen in the
image below.

Step 3: Animation is transformed into perspective.

Next, we need to go back into the original smart object and hide the template layer. When we
save and return to our working document, we should see our minute hand rotate without the
template layer.

Step 4: Animation with template layer hidden.

Adding the Drop Shadow layer style with a “Spread” setting of 100% will simulate some depth.

Step 5: Drop Shadow simulates the edges of the clock hand.

Repeating these steps, we can create the hour hand. (I’ve readjusted the timing to fit in the
animation of the hour hand.)

Step 6: Hour and minute hand animating.

Lastly, we can create the rest of the clock using traditional Photoshop techniques. The result is a
clock that animates in perspective.