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Assigning a filter mask

From: Photoshop CS3 Sharpening Images

Video: Assigning a filter mask

I am working, by the way, if you are just joining me, I am working inside of a document called Two Smart Filters.PSD, that's found inside the 04_Support_Staff folder. I am going to go ahead so we can see what the grasslands in the background originally looked like. I am going to turn off the Smart Filters eyeball right there. I was telling you that you are going to waste a lot of time if you turn on and off eyeballs in order to preview before and after effects, I was telling you that in a previous exercise. That's true if you turn off one of these two eyeballs right here that's associated with a single Smart Filter, but if you turn off all of the Smart Filters, that typically goes pretty fast.

Assigning a filter mask

I am working, by the way, if you are just joining me, I am working inside of a document called Two Smart Filters.PSD, that's found inside the 04_Support_Staff folder. I am going to go ahead so we can see what the grasslands in the background originally looked like. I am going to turn off the Smart Filters eyeball right there. I was telling you that you are going to waste a lot of time if you turn on and off eyeballs in order to preview before and after effects, I was telling you that in a previous exercise. That's true if you turn off one of these two eyeballs right here that's associated with a single Smart Filter, but if you turn off all of the Smart Filters, that typically goes pretty fast.

So I am just going to go and turn off the eyeball for all the Smart Filters right there. Right away, it goes back to the original version of the animal, and you can see all the wacky colors that are going on inside of its eyes and its muzzle and inside of its coat. But you can also see the good colors that are going on inside the background; those greens that work inside of the background, and the yellows. We have got some oranges almost showing up, but we do have a little bit of greenery left, and I would like to go ahead and save that green if I can. So that's why we are going to restrict our Smart Filters to the bison itself, which needs all this color editing that's going on, thanks to the application of the Median Filter to just the color information inside of the photograph.

So in order to create this Mask, I want you to leave the Smart Filters off, and I want you to go to the Channels palette. So go ahead and click on the word Channels. Now I tell you all about masking inside of my Photoshop CS3 Channels & Masks series. It's broken into two pieces: Essentials and Advanced Techniques. It's a part of the Online Training Library, so if you subscribe to lynda.com's Online Training Library, you have access to it. In all there are 32 hours worth of information; 300 different movies. I cannot begin to convey to you everything about masking right now in this one exercise, so I am just going to run through it as if you know basically how masking works.

We are going to start off with the red channel because it has the highest degree of contrast between the animal and the grasslands. We want the animal to be white so he is affected, and we want the grasslands, the background, to be black, so it's not affected. So we are looking for contrast for starters. We will grab red. I am going to drag it to the bottom here on this little page icon at the bottom of Channels palette and release. Now we have got the colors inverted; he is dark and the background is light. I need the opposite, so I am going to press Ctrl+I or Command+I in the Mac in order to invert those colors.

I am going to zoom out a little bit here to the 50% zoom size, just so I can take in more information. I am going to go ahead and call this guy Mask. I am just going to rename this Mask by double clicking and changing its name. Now I am going to increase the contrast a little bit inside of this channel, by going up to the Image menu, choosing Adjustments and choosing the Levels command. that's the easiest thing to do here. You could also press Ctrl+L or Command+L on the Mac. I am going to change this first Input Level value to 70. So I am saying anything that has a luminance level of 70 or darker is going to become black.

So that's going to make a lot of colors inside that background black, as well as the seeds on this animal's head. Then I am going to change the white point to 190, by which I am saying, anything that has a luminance level of 190 or brighter, should be made white. So much of the interior of the animal is now becoming white. Some of its coat is remaining sort of grayish, that's OK. I am going to go ahead and click OK in order to accept these settings; so 70 for the first value, 190 for the third value, right here. You can leave that middle value alone.

I will click OK in order to accept that modification. Now I need to convert this mask to a selection outline, and you do that by pressing and holding the Ctrl key on the PC or the Command key on the Mac, and clicking on that thumbnail. So Ctrl-click or Command-click on the thumbnail for the Mask Channel, and you will see that you load a selection outline. Now lets go back to the RGB image by clicking on it at the top of the Channels palette. I want you to go to the Layers palette now. Turn the Smart Filters back on by clicking on the eyeball in front of Smart Filters, and then I am going to right -click on Smart Filters and I am going to choose Add Filter Mask, and that will go ahead and convert the selection outline to a Filter Mask, just like that.

So you can see the thumbnail view of this Filter Mask right there. By the way, if you are seeing itty-bitty icons inside the Layers palette here, you can right click in an empty area, the empty area at the bottom of the palette, and you can choose Large Thumbnails, which is a lot more helpful. Then you can see what's going on. So there is the Mask, and what it's doing is it's constraining the effects below it in the interior of the Mask, in the white area, and it's excluding the filters from the black area. So white reveals and black conceals in the case of this Filter Mask right there. As a result, we are sharpening and also applying the Median function to the interior of the buffalo, and we are not affecting the grasslands at all around the outside.

You can verify that by turning this eyeball on and off. Once again, this should be fairly quick. So turn that eyeball off and you can see that the grasslands are not affected but the animal is very much affected. Then turn it back on, and you can see that the sharpening effect comes back into play, and so does the smoothing effect, the color smoothing effect, as a function of this Median Smart Filter right there. There is a problem however, I do want to sharpen the grasslands; I don't want to average the colors of the grasslands. So I am glad I have this Filter Mask here, but I do want to sharpen those grasslands in the background, and the problem is that this Filter Mask affects all of the Smart Filters in kind.

There is no way to say, don't affect Smart Sharpen, just affect Median. That's actually OK to a certain extent, but somehow we need to sharpen that background. We are going to have to do that by embedding a Smart Object inside of this Bison Smart Object. So we are going to have to have one Smart Object inside of another, so that we have another Smart Object that has some sharpening functions applied to it. You will see what I mean if you join me in the very next exercise.

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This video is part of

Image for Photoshop CS3 Sharpening Images
Photoshop CS3 Sharpening Images

115 video lessons · 17002 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 50m 30s
    1. Why every image needs sharpening
      2m 38s
    2. Understanding the effects of sharpening
      5m 26s
    3. Understanding the mechanics of sharpening
      4m 19s
    4. Understanding sharpening and gradual transitions
      3m 21s
    5. Understanding sharpening and noise reduction
      4m 0s
    6. Understanding amount and radius
      7m 50s
    7. Measuring your screen resolution
      6m 19s
    8. Using reliable zoom ratios
      5m 30s
    9. Calculating the actual print size
      4m 54s
    10. Gauging the ideal sharpening settings
      6m 13s
  2. 59m 31s
    1. Everyone knows you sharpen last (and everyone is wrong)
      1m 8s
    2. Understanding the conventional sharpening workflow
      5m 4s
    3. Flattening and saving to TIFF
      6m 39s
    4. Downsampling (and why you shouldn't upsample)
      6m 8s
    5. Understanding last-step sharpening
      6m 44s
    6. Recognizing problems with the conventional workflow
      9m 38s
    7. Erasing sharpening with the history brush
      4m 30s
    8. Using alternative sharpening workflows
      2m 37s
    9. Sharpening a scanned photograph shot on film
      2m 45s
    10. Sharpening a digital photograph
      3m 6s
    11. Sharpening specific details
      3m 43s
    12. Finding broad workflow conclusions
      2m 49s
    13. Learning that technique trumps timing
      4m 40s
  3. 1h 27m
    1. Comparing and contrasting neighboring pixels
      1m 6s
    2. Using the Gaussian Blur filter
      4m 25s
    3. Using Gaussian luminance distribution
      4m 47s
    4. Using the Unsharp Mask filter
      4m 54s
    5. Understanding the history of Unsharp Mask
      3m 51s
    6. Building your own USM with Gaussian Blur
      7m 35s
    7. Using the Smart Sharpen filter
      7m 35s
    8. Compensating for camera shake
      8m 50s
    9. Building your own Smart Sharpen with Lens Blur
      6m 59s
    10. Using directional sharpening with Emboss
      9m 13s
    11. Using Smart Sharpen extras
      8m 56s
    12. Using Convolution Kernels for more accuracy
      7m 8s
    13. Using the High Pass filter
      7m 32s
    14. Using Luminance Sharpening
      5m 5s
  4. 2h 14m
    1. Smoothing filters, smart objects, and masks
      1m 25s
    2. Using the Median filter and Dust and Scratches
      7m 7s
    3. Using Smart Blur and Surface Blur
      6m 12s
    4. Using the Despeckle filter
      8m 17s
    5. Softening flesh tones selectively
      10m 15s
    6. Using the Reduce Noise filter
      7m 27s
    7. Combining smoothing and sharpening
      8m 24s
    8. Making an image into a smart object
      9m 24s
    9. Applying editable smart filters
      6m 8s
    10. Combining two smart filters
      8m 5s
    11. Assigning a filter mask
      5m 59s
    12. Nesting one smart object inside another
      10m 32s
    13. Employing a static High Pass layer
      8m 59s
    14. Matching static pixel-level edits
      4m 37s
    15. Avoiding clipping with luminance blending
      9m 7s
    16. Sharpening and smoothing
      6m 36s
    17. Making an edge mask
      8m 14s
    18. Making a non-edge mask
      7m 17s
  5. 1h 33m
    1. Sharpening with Adobe Camera Raw
      1m 29s
    2. Introducing Camera Raw (4.1 or later)
      8m 13s
    3. Understanding why to sharpen for source
      5m 14s
    4. Using Camera Raw’s sharpening control
      5m 52s
    5. Previewing limitations and tricks
      6m 45s
    6. Why downsampling doesn’t work
      3m 12s
    7. Reducing chromatic aberration
      7m 30s
    8. Using the Defringe option
      3m 32s
    9. Understanding high frequency, low radius
      5m 21s
    10. Raising the Detail value
      3m 6s
    11. Using on-the-fly edge masking
      5m 41s
    12. Sharpening a low-frequency portrait
      6m 36s
    13. Eliminating color noise
      4m 47s
    14. Reducing luminance noise
      4m 42s
    15. Correcting “false sharpening”
      7m 15s
    16. Reducing shadow noise
      5m 22s
    17. Approximating ACR sharpening in Photoshop
      8m 35s
  6. 59m 8s
    1. Gauging and exploiting luminance frequency
      1m 27s
    2. Using low-frequency source sharpening
      5m 53s
    3. Using High Pass for portraits
      4m 19s
    4. Actioning a low-frequency edge mask
      7m 42s
    5. Modifying the source sharpening
      5m 21s
    6. Using high-frequency source sharpening
      5m 26s
    7. Using Smart Sharpen for cityscapes
      3m 2s
    8. Actioning a high-frequency edge mask
      5m 4s
    9. Downplaying color artifacts and clipping
      4m 4s
    10. Sharpening a medium-frequency image
      5m 24s
    11. Sharpening a layered composition
      7m 16s
    12. Sharpening for multiple frequencies
      4m 10s
  7. 1h 8m
    1. Who needs dull when you have sharp?
      56s
    2. Focusing in on a person’s eyes
      4m 22s
    3. Blurring the area outside the eyes
      4m 22s
    4. Sharpening eyes and other details
      5m 38s
    5. Darkening the lashes and eyebrows
      7m 13s
    6. Sharpening dark-haired people
      5m 2s
    7. Edge mask and emphasize
      3m 39s
    8. Nesting a Smart Sharpen effect
      4m 48s
    9. Density mask sharpening
      5m 35s
    10. Adding depth of field
      4m 39s
    11. Sharpening a background
      4m 23s
    12. Masking background from foreground
      8m 51s
    13. Eliminating halos around a person
      5m 38s
    14. Deepening and warming a background
      3m 28s
  8. 1h 18m
    1. Reverting back to convention
      1m 37s
    2. Understanding the use-neutral composition
      4m 15s
    3. Restoring much-needed antialiasing
      4m 2s
    4. Reducing noise in a high-frequency image
      7m 24s
    5. Making a third-level smart object
      3m 55s
    6. Preparing an image for print
      5m 18s
    7. Using ideal settings for commercial reproduction
      5m 37s
    8. Calculating very large-format settings
      5m 11s
    9. Using ideal settings for inkjet output
      4m 26s
    10. Sharpening for commercial reproduction
      5m 45s
    11. Sharpening for inkjet output
      4m 58s
    12. Revealing high-frequency multipass sharpening
      5m 21s
    13. Using Gaussian Blur to sharpen hair
      5m 41s
    14. Flatten, Save As, Resample, and Sharpen
      5m 9s
    15. Revealing low-frequency multipass sharpening
      3m 30s
    16. Sharpening an image for web or screen
      6m 22s
  9. 1m 50s
    1. Goodbye
      1m 50s

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