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Blending differently masked layers

From: Photoshop Masking and Compositing: Fundamentals

Video: Blending differently masked layers

In this exercise, we are going to take that more aggressive mask that we created in the previous exercise, and we will use it to introduce another copy of the model into the landscape background, and then we will refine the mask, so she looks very nearly at home. And I'm going to click on RGB here at the top of the Channels panel to revisit the color composite image. And then I will scroll down the list, and Control+click, or Command+click, on the thumbnail for that final overlay painting channel. And notice that there are two channels with the same name, so make sure you select the one at the absolute end of the list.

Blending differently masked layers

In this exercise, we are going to take that more aggressive mask that we created in the previous exercise, and we will use it to introduce another copy of the model into the landscape background, and then we will refine the mask, so she looks very nearly at home. And I'm going to click on RGB here at the top of the Channels panel to revisit the color composite image. And then I will scroll down the list, and Control+click, or Command+click, on the thumbnail for that final overlay painting channel. And notice that there are two channels with the same name, so make sure you select the one at the absolute end of the list.

Then switch back to layers channel. You should see a lone base layer with no layer mask. Drop down to the Add Layer Mask icon, and go ahead and click on it to add a layer mask to that layer. Now right-click inside the Image window, and choose Duplicate Layer, and change the Document name to Multiplied model, which is that background image. And then I am going to name this new layer M2, for model 2, and click OK. Let's switch ahead to the composition in progress. Now obviously we have better details inside the face. This is what she looked like before we added that layer, when all we had was the woman multiplied into the background, and this is what we have now.

Also, by the way, I would like you to see the difference that the Multiply layer makes. This is what the composition would look like if we didn't have the M1 layer. I am going to go ahead and zoom in a little bit so you can see just how choppy and awful these details are, but by virtue of the fact I have got the M1 layer set to Multiply, we have much better transitions; a lot more hair detail as well. I urge you to keep your eye on the hair. The edges of the face, and the neck, and the shoulders are going to look just terrible. We will take care of those problems shortly.

Now, notice up here in the top left region of her head, we have got some pretty choppy details inside the hair. Let's smooth those over by clicking on the Layer Mask thumbnail for the M2 layer here inside the Layers panel, then go up to the Select menu, and chose Refine Mask once again, or press Control+Alt+R; Command+Option+R on the Mac. And I am going to take the Radius value from 0 pixels up to 10 pixels, and you can see that that makes a heck of a difference. It really smoothes out those transitions pretty nicely; they are not all the way. That's okay; we will make some manual modifications in a moment, but it's pretty darn good for an automated refinement.

All right, now go ahead and click OK. And by the way, I'm going to change the names of my layers just a little bit. This is going to be M2 R10. That will show me that I applied a Radius value of 10 to this layer mask, just so I remember. And this guy, I am going to change to M1 R40, because I applied a Radius value of 40 when refining that layer mask. Now what I want you to do is click on the M2 layer, and then Alt+click, or Option+click, on this layer mask thumbnail, so we can see the mask by itself, and I am going to zoom out just a little bit here.

And what we want to do is take care of these ratty edges up here in the upper right-hand corner. So switch to the Brush tool. I am going to right-click inside the Image window. I found that a Size value of 1300 pixels worked pretty nicely. I also went ahead and cranked up the Hardness to 100%. Notice that the mode is set to Normal, the Opacity is 100%; Flow is 100% as well. All right, now I am going to zoom out by pressing Control+0, Command+0 on the Mac, and let's reinstate some details while we are looking at the model.

So Alt+click, or Option+click, on the Layer Mask thumbnail once again, and I am going to click right about there. By the way, it's important that you are painting with white, so check that the foreground color is white there at the bottom of the toolbox. I am just going to click right about there, like so, and then I will click again right there, maybe a little more. And you might try clicking over here on the right-hand side of the models' face as well. Do not drag, because if you end up dragging even just a little bit too much, you are going to end up pretty well ruining the mask, like so.

So I will press Control+Z, Command+ Z on the Mac, to undo that change. Now I am going to zoom in, because I want you to see this other little detail here, and this is the kind of stuff that can end up driving you nuts when you are compositing your images. Notice that I have these kind of breaks in this one hair at a couple of different locations, and so what you can do is you can clone those breaks away. Making sure that the Layer Mask thumbnail is still selected, go ahead and switch, this time, to the Clone Stamp tool, which you can get by pressing the S key. And I am working with the very small cursor, as you can see. If I right-click, my Size value is 21 pixels; my Hardness is 0%. And I am going to Alt+click, or Option+click, in this little bit of hair between the two breaks, and that will go ahead and set the source for my clone.

Now I will click right about there on that break, like so, and that ends up healing the area pretty nicely, for me in any case. So this is what it look like before; Control +Z, or Command+Z on the Mac, and this is what it looks like after. So that gets rid of that break pretty nice. We have got some weird detail inside the hair, but that's bound to occur. When you zoom way in on a photograph, and you start evaluating the details on a molecular basis, even photographically realistic details may sometimes surprise you.

Now I'll go up the Options bar, and turn off the Aligned check box, and that way we are cloning from that same source point. Then I will move to this location right there, and click again. Notice we introduced a little bit of white around the edges. So in other words, that little bit of cloning went too far. So if you want to back off on any of your brushing modifications, then you go up to the Edit menu, and you choose, in this case, Fade Clone Stamp, or you can press Control+Shift+F, Command+Shift+F on the Mac, and I am just going to take the Opacity value down to 50%, and click OK. And that gives us this more organic transition right there, but I want to stress something.

If I press Control+0, or Command+0 on the Mac, to zoom all the way out, and then I press Control+Plus, or Command+Plus, to zoom in a click, taking in the image from afar, like so, we're just not seeing that problem right there. And a lot of your edge issues are going to disappear, especially when you go to print, so if you're printing on a high-resolution, a lot of the edges are going to resolve automatically. And then if you end up downsampling the image for the Web, those problems are going to resolve themselves as well.

It's just when you're printing at very, very large sizes that you really have to watch those edges, and make sure they look great, even when you're zoomed in at 100% and beyond. So the top of the head, and the hair; they all look great. It's when we start getting into the skin regions that things fall apart, especially over here on the left-hand side of the neck, and I'll show you how to solve those problems starting in the next exercise.

Show transcript

This video is part of

Image for Photoshop Masking and Compositing: Fundamentals
Photoshop Masking and Compositing: Fundamentals

128 video lessons · 30103 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 15m 25s
    1. Welcome
      1m 12s
    2. Loading my custom dekeKeys shortcuts
      3m 45s
    3. Adjusting the color settings
      4m 29s
    4. Setting up a power workspace
      5m 59s
  2. 1h 0m
    1. The channel is the origin of masking
      1m 54s
    2. The Masks and Channels panels
      4m 48s
    3. How color channels work
      7m 7s
    4. Viewing channels in color
      3m 24s
    5. How RGB works
      4m 12s
    6. Single-channel grayscale
      5m 12s
    7. Mixing a custom "fourth" channel
      5m 15s
    8. The other three-channel mode: Lab
      5m 45s
    9. A practical application of Lab
      4m 55s
    10. The final color mode: CMYK
      7m 5s
    11. Introducing the Multichannel mode
      5m 56s
    12. Creating a unique multichannel effect
      5m 18s
  3. 44m 27s
    1. The alpha channel is home to the mask
      1m 40s
    2. The origins of the alpha channel
      3m 40s
    3. How a mask works
      7m 10s
    4. Making an alpha channel
      4m 2s
    5. Using the new channel icons
      6m 27s
    6. Saving an image with alpha channels
      4m 23s
    7. Loading a selection from a channel
      4m 7s
    8. Putting a mask into play
      3m 55s
    9. Loading a selection from a layer
      4m 27s
    10. Loading a selection from another image
      4m 36s
  4. 1h 0m
    1. The mask meets the composition
      1m 8s
    2. Viewing a mask as a rubylith overlay
      6m 13s
    3. Changing a mask's overlay color
      5m 34s
    4. Painting inside a mask
      6m 3s
    5. Cleaning up and confirming
      5m 18s
    6. Combining masks
      5m 10s
    7. Painting behind and inside a layer
      5m 27s
    8. Blending image elements
      6m 1s
    9. What to do when layers go wrong
      6m 3s
    10. Hiding layer effects with a mask
      4m 22s
    11. Introducing clipping masks
      5m 29s
    12. Unclipping and masking a shadow
      3m 50s
  5. 1h 35m
    1. The seven selection soldiers
      52s
    2. The marquee tools
      6m 31s
    3. The single-pixel tools (plus tool tricks)
      6m 48s
    4. Turning a destructive edit into a layer
      5m 34s
    5. Making shapes of specific sizes
      7m 7s
    6. The lasso tools
      5m 49s
    7. Working with the Magnetic Lasso tool
      7m 19s
    8. The Quick Selection tool
      8m 13s
    9. Combining Quick Selection and Smudge
      4m 52s
    10. The Magic Wand and the Tolerance value
      6m 55s
    11. Contiguous and Anti-aliased selections
      6m 58s
    12. Making a good selection with the Magic Wand
      6m 34s
    13. Selecting and replacing a background
      6m 55s
    14. Resolving edges with layer effects
      7m 52s
    15. Adding lines of brilliant gold type
      7m 28s
  6. 1h 11m
    1. Selections reign supreme
      55s
    2. Introducing "selection calculations"
      4m 19s
    3. Combining two different tools
      7m 29s
    4. Selections and transparency masks
      5m 17s
    5. Selecting an eye
      7m 1s
    6. Masking and blending a texture into skin
      5m 1s
    7. Painting a texture into an eye
      4m 19s
    8. Combining layers, masks, channels, and paths
      4m 54s
    9. Moving selection outlines vs. selected pixels
      5m 36s
    10. Transforming and warping a selection outline
      7m 45s
    11. Pasting an image inside a selection
      7m 26s
    12. Adding volumetric shadows and highlights
      6m 54s
    13. Converting an image into a mask
      4m 42s
  7. 1h 5m
    1. The best selection tools are commands
      1m 5s
    2. Introducing the Color Range command
      5m 59s
    3. Working in the Color Range dialog box
      7m 7s
    4. Primary colors and luminance ranges
      4m 12s
    5. A terrific use for Color Range
      4m 57s
    6. Introducing the Quick Mask mode
      7m 43s
    7. Moving a selection into a new background
      5m 43s
    8. Smoothing the mask, recreating the corners
      8m 43s
    9. Integrating foreground and background
      4m 44s
    10. Creating a cast shadow from a layer
      2m 51s
    11. Releasing and masking layer effects
      3m 11s
    12. Creating a synthetic rainbow effect
      4m 30s
    13. Masking and compositing your rainbow
      4m 46s
  8. 1h 17m
    1. The ultimate in masking automation
      1m 6s
    2. Introducing the Refine Mask command
      6m 58s
    3. Automated edge detection
      8m 23s
    4. Turning garbage into gold
      6m 19s
    5. Starting with an accurate selection
      7m 11s
    6. Selection outline in, layer mask out
      7m 48s
    7. Matching a scene with Smart Filters
      4m 29s
    8. Cooling a face, reflecting inside eyes
      4m 45s
    9. Creating a layer of ghoulish skin
      4m 28s
    10. Adding dark circles around the eyes
      5m 20s
    11. Creating a fake blood effect
      5m 38s
    12. Establishing trails of blood
      7m 40s
    13. Integrating the blood into the scene
      7m 3s
  9. 1h 48m
    1. Using the image to select itself
      1m 37s
    2. Choosing the ideal base channel
      5m 7s
    3. Converting a channel into a mask
      6m 34s
    4. Painting with the Overlay mode
      7m 27s
    5. Painting with the Soft Light mode
      5m 55s
    6. Mask, composite, refine, and blend
      4m 40s
    7. Creating a more aggressive mask
      7m 2s
    8. Blending differently masked layers
      7m 0s
    9. Creating a hair-only mask
      6m 0s
    10. Using history to regain a lost mask
      3m 42s
    11. Separating flesh tones from hair
      8m 28s
    12. Adjusting a model's color temperature
      4m 30s
    13. Introducing the Calculations command
      7m 22s
    14. Extracting a mask from a Smart Object
      6m 34s
    15. Integrating a bird into a new sky
      5m 40s
    16. Creating synthetic rays of light
      6m 4s
    17. Masking and compositing light
      7m 39s
    18. Introducing a brilliant light source
      7m 5s
  10. 1h 34m
    1. The synthesis of masking and compositing
      1m 36s
    2. White reveals, black conceals
      6m 45s
    3. Layer masking tips and tricks
      5m 8s
    4. Generating a layer mask with Color Range
      5m 38s
    5. The Masks panel's bad options
      5m 18s
    6. The Masks panel's good options
      3m 50s
    7. Creating and feathering a vector mask
      3m 42s
    8. Combining pixel and vector masks
      3m 50s
    9. Working with path outlines
      7m 10s
    10. Combining paths into a single vector mask
      7m 52s
    11. Sharpening detail, reducing color noise
      4m 27s
    12. Recreating missing details
      8m 49s
    13. Masking glass
      5m 50s
    14. Refining a jagged Magic Wand mask
      5m 53s
    15. Masking multiple layers at one time
      5m 15s
    16. Establishing a knockout layer
      6m 6s
    17. Clipping and compositing tricks
      7m 37s
  11. 1m 17s
    1. Next steps
      1m 17s

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