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Channel-mixing red pupils


Photoshop CS3 Channels & Masks: Advanced Techniques

with Deke McClelland

Video: Channel-mixing red pupils

So here we are looking at an extreme case of Red eye inside of this photograph of my lovely beautiful children right here. The name of the image is TSS0TBLH.psd, found inside the 13 Channel Mix folder. Of course, the acronym stands for the Sun Sets On Their Blond Little Heads because it does for me, anyway. In this case, we don't have a setting sun. We have got an interior shot, and we have got a low-end digital camera, your standard rinky-dink camera. It actually was pretty nice camera. Really, it's like $400, $500 camera.
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  1. 2h 12m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 9s
    4. Luminance blending
      8m 39s
    5. Forcing the visibility of underlying layers
      4m 3s
    6. Adjusting the appearance of clipped layers
      4m 33s
    7. Selecting a Blend If channel
      6m 11s
    8. Enhancing highlights by hiding them
      5m 8s
    9. Smart Object first, layer mask second
      7m 22s
    10. The Fill Opacity Eight
      4m 30s
    11. Blending Smart Filters
      7m 24s
    12. Cleaning up edges
      7m 38s
    13. More fun with luminance blending
      6m 22s
    14. A first peek at the Calculations command
      12m 11s
    15. Masking a softly focused model
      11m 46s
    16. Moving layers and masks between images
      7m 34s
    17. Matching colors
      9m 12s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 49s
  2. 2h 32m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 17s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 2s
    6. Masking an adjustment layer
      6m 37s
    7. Creating two windows into an image
      7m 42s
    8. Whitening teeth and adding other highlights
      3m 46s
    9. Mapping a texture onto an image
      4m 0s
    10. Isolating a texture with a layer mask
      6m 44s
    11. Welcome to the glass composition
      3m 18s
    12. Balancing shadows and highlights
      5m 51s
    13. Masking the glass
      7m 24s
    14. Masking the text
      9m 23s
    15. Adding and blending the goldfish
      8m 44s
    16. Assembling the perfect group photo
      5m 12s
    17. Aligning photographs automatically
      5m 26s
    18. Masking in each person's best shot
      5m 18s
    19. Masking densely packed people
      6m 17s
    20. Crafting the perfect final poster
      5m 15s
    21. From the improbable to the impossible
      1m 56s
    22. The fantastical "world of clones" effect
      10m 0s
    23. Upsampling and blurring a background
      8m 39s
    24. Adding a knockout mask
      8m 3s
    25. Choking edges with Gaussian Blur and Levels
      3m 46s
  3. 2h 26m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 21s
    3. Brightening and neutralizing the eyes
      8m 21s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 3s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      5m 59s
    9. Refining the color mask
      6m 39s
    10. Adjusting the edges around fabric
      7m 55s
    11. Perfecting hair
      9m 34s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 47s
    14. Adjusting the knockout depth
      8m 48s
    15. Fashioning a depth map
      6m 12s
    16. Invoking a depth mask from Lens Blur
      6m 38s
    17. The perfect depth-of-field effect
      6m 25s
    18. Sharpening an archival photograph
      7m 7s
    19. Creating an edge mask
      8m 29s
    20. Making a High Pass sandwich
      7m 45s
    21. Applying the edge mask
      6m 1s
    22. Customizing your sharpening effect
      4m 6s
  4. 2h 3m
    1. Channel Mixer, I am your father!
      1m 39s
    2. Three ways to gray
      7m 48s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 9s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 0s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 42s
    9. Taking shadows to the brink of black
      3m 56s
    10. Elevating highlights, leeching saturation
      5m 58s
    11. Deepening a black-and-white sky
      5m 49s
    12. Infusing luminance levels with color
      5m 43s
    13. Creating an opposing colorization scheme
      4m 58s
    14. Bolstering contrast with the Green channel
      5m 37s
    15. A tiny improvement to a terrific technique
      7m 38s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 17s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 8s
    20. Making pupils match
      4m 7s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 36s
    2. The Calculations command
      8m 16s
    3. Blue Screen blending
      7m 40s
    4. Refining the Blue Screen mask
      5m 53s
    5. Brushing away color fringing
      7m 24s
    6. Locking the transparency of a layer
      6m 21s
    7. Nondestructive layer painting
      7m 36s
    8. How the Add blend mode works
      8m 40s
    9. How the Subtract blend mode works
      6m 43s
    10. Focus, noise, and other masking challenges
      5m 32s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 24s
    13. Comparing two channels with Difference
      5m 23s
    14. Enhancing the contrast with Curves
      9m 10s
    15. Gathering details with Apply Image
      9m 43s
    16. Dodge highlights, burn shadows
      6m 6s
    17. Dodge and Burn in action
      8m 24s
    18. Painting in the scalp
      10m 0s
    19. Painting away the face and chin
      4m 52s
    20. Compositing complementary images
      4m 13s
    21. Multiply, Minimum, Blur, and Apply Image
      6m 40s
    22. Crafting the final composition
      7m 7s
  6. 1h 57m
    1. Mark of the Pen tool
      1m 34s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 24s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 14s
    7. Adding and deleting interior points
      6m 6s
    8. Converting a path to a selection
      3m 35s
    9. Converting a path to a mask
      6m 38s
    10. Smooth points and control handles
      8m 57s
    11. Making cusp points
      5m 59s
    12. Combining paths in a vector mask
      7m 54s
    13. Turning a path into a shape layer
      8m 57s
    14. Combining paths to make a layer mask
      7m 52s
    15. Mixing layer and vector masks
      10m 14s
    16. Editing character outlines as paths
      8m 39s
    17. Using the Convert Point tool
      7m 8s
  7. 3h 17m
    1. Where there's a will, there's a way
      1m 18s
    2. Masking natural cast shadows
      4m 9s
    3. Applying the cast show
      4m 2s
    4. Creating a difference mask
      3m 7s
    5. Applying an arbitrary map
      3m 50s
    6. Making the flesh mask
      7m 16s
    7. Roughing in an object mask
      6m 48s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 52s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 8s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 54s
    16. Merging the best of two Levels iterations
      4m 4s
    17. More fun with Dodge and Burn
      6m 14s
    18. Fixing edges with the Pen and Stamp tools
      7m 28s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 42s
    21. Building the flame mask
      9m 21s
    22. Amplifying the flame
      3m 52s
    23. Masking an image against a busy background
      5m 15s
    24. The Freeform and Magnetic Pen tools
      6m 52s
    25. Masking with arbitrary maps
      9m 32s
    26. A more deliberate approach to arb maps
      10m 51s
    27. Combining arb maps with paths
      9m 28s
    28. Masking with the help of the History brush
      11m 38s
    29. Creating a High Pass mask
      7m 24s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 28s
    32. Subtracting and merging the beak
      11m 5s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 49s
    2. Scanning line art in 8-bit and 16-bit
      5m 8s
    3. Measuring the 16-bit difference
      8m 8s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 12s
    6. Editing in Camera Raw, opening in 16-bit
      8m 21s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 17s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      5m 59s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 24s
    13. Modifying a layer mask in 32-bit
      4m 56s
    14. Converting to and correcting in 16-bit Lab
      12m 7s
  9. 2h 8m
    1. Photoshop flirts with the third dimension
      1m 13s
    2. The displacement map
      8m 24s
    3. Making custom waves
      7m 14s
    4. Creating a Gaussian distribution
      4m 31s
    5. Using a two-channel displacement map
      6m 27s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 33s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 3s
    10. Dipping the moon into the water
      6m 18s
    11. Turning flesh into stone
      7m 55s
    12. Wrapping the stone around the face
      7m 27s
    13. Softening a displacement map
      8m 4s
    14. Making a repeating watermark pattern
      9m 21s
    15. 3D embossing with Lighting Effects
      10m 47s
    16. The amazing credit card type effect
      6m 56s
    17. Lightening the credit card letters
      6m 16s
    18. Wrapping the background around the text
      6m 27s
  10. 1m 43s
    1. Goodbye
      1m 43s

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Watch the Online Video Course Photoshop CS3 Channels & Masks: Advanced Techniques
20h 48m Advanced Nov 21, 2007

Viewers: in countries Watching now:

The elusive alpha channel remains one of the most misunderstood yet powerful tools in Photoshop. Alpha channels are collections of luminance data that control the transparency of an image, and they inform just about every aspect of Photoshop. As he builds transitional blended layers, fashions a depth map, makes edge adjustments, and takes on extreme channel mixing, Omni Award-winning expert Deke McClelland teaches Photoshop users that where there's a will, there's a way. Photoshop CS3 Channels and Masks: Advanced Techniques covers mapping texture on an image, turning flesh into stone, using vector masks, working with all different channels, creating a rustic edge effect, and much more. Exercise files accompany the tutorials.

Download Deke's customized keyboard layouts for Channels and Masks from the Exercise Files tab."

Topics include:
  • Distorting and shading with a DMap
  • Understanding bits and channels
  • Creating paths with the Pen tool
  • Using blend modes and the Dodge and Burn feature
  • Understanding channel mixing
  • Using layer masks, clipping masks, and knockouts
  • Applying Smart Filters
Design Photography
Deke McClelland

Channel-mixing red pupils

So here we are looking at an extreme case of Red eye inside of this photograph of my lovely beautiful children right here. The name of the image is TSS0TBLH.psd, found inside the 13 Channel Mix folder. Of course, the acronym stands for the Sun Sets On Their Blond Little Heads because it does for me, anyway. In this case, we don't have a setting sun. We have got an interior shot, and we have got a low-end digital camera, your standard rinky-dink camera. It actually was pretty nice camera. Really, it's like $400, $500 camera.

But, it's just that the strobe is mounted so close to the lens element that the light entered their little pupils there, actually big pupils because they were dilated and reflected right back into the camera lens, and we get red eye as a result, because the interior of the retina is red and reflective, highly reflective. So we got these guys have terrible red eye. We saw how the Red Eye tool did not help us out in this particular case because it tends to make pupils gray, more often than making them black. So what's the better solution, well the better solution is to invoke the Channel Mixer.

So let's take a look at our channels in the first place here, Ctrl+1 for the red channel, that's Command+1 on the Mac of course, and low and behold, we have got a lot of red going inside those pupils. Who would have guessed, given that we have red eye. Well, I think everybody would have. So the red channel is going to be your bad channel where red eye is concerned. It's the channel that needs to be fixed essentially, more than any of the others. If you are lucky, you will see the effect only in the red channel. So the pupils will light up in the red channel and they'll look great in the green and blue channels. That's something across your finger is for.

In this case, our desires are forted, our wishes go unrequited because if we press Ctrl+2 or Command+2 on the Mac in order to switch the green channel, you can see that the pupils don't look too good in the green channel. They do look a heck of a lot better, but they still look wrong and whereas Sammy's, my youngest boy Sam, his pupils look pretty darn good inside of the green channel. They look okey-doke. Max's just look terrible. Once again, it's because of those coronas my elder son has, Max. Those coronas around the pupils look just terrible. We have got really heavy black outline going on. Let's go ahead just for the sake of completion here. Let's go ahead and check out the blue channel as well. I am going to press Ctrl+3 or Command+3 on a Mac in order to switch the blue channel and we have got problems inside the blue channel as well.

In fact, the blue channel is only slightly better than the red channel. It's worse than the green channel. So we are going to do some channel mixing, but we can't expect too much from it, because we don't really have a good channel to work from. We just have three bad channels that we are going to try to blend together. I am going to go ahead and switch back to the RGB image. I am going to press and hold the Alt key or the Option key on the Mac, and I am going to click and hold on this Black/white icon here and choose Channel Mixer. I am going to call this Red Eye just because that's what we are going to do, and I am going to click OK.

Actually, you know what, I forgot to do something. I should have gone ahead and selected the pupils first, because otherwise if we start fixing things, what's going to happen, we are going to effect the entire image. So let's go ahead and generate our selection for starters and you select the pupils using the Elliptical Marquee tool. You just go in there and you start selecting things manually using the tool. It's not hard to select pupils. Actually, it's pretty darn easy if you have big pupils like this to work with. But, just because it's fairly routine and mundane, I have gone ahead and done it for you in advance. Go to the Channels palette and you will see this channel right here. This Alpha channel called Pupils. Go ahead and click on it and you will see the pupils that I have drawn for you.

If you go and zoom in, you will see that after drawing the pupils around Max's eyes, I went ahead and blurred them. I have applied the Gaussian Blur filter with a radius of 2, and because Sammy is in lower focus, he is blurrier inside the original photograph. I have gone ahead and blurred his pupils with a radius of 4. If I show the RGB image at the same time, you can see what these pupils look like and through this Quick Mask Mode here, you can see that I have gone ahead and drawn my selections larger than the pupils. So I have more room to work with. So that I am enclosing any coronas that might be surrounding these eyes.

Let's go ahead and scroll over to Max. You can see that I have gone ahead and selected his coronas as well, those hard edges around the pupils. All right. So back to the RGB image. Turn off the mask, and then Ctrl+Click or Command+Click on that Alpha channel in order to load it as a selection. Now, let's go back to the Layers palette. Let's zoom out a little bit here so we can see both of the boys. Now, I am going to once again Alt or Option+Click on the Black/White icon and choose the Channel Mixer function, and I am going to call this New adjustment layer Red eye, and I am going to click OK, and notice that it's automatically assigned to just the selected region of the image. So we have a layer mask that Photoshop creates for us.

Now, I could go ahead and try to dial in a Monochrome version of the pupils, and I could sort of take a lot of the color out of there like so. That is, I could take a lot of the brightness out of those pupils. But, if I do, notice it's going to look pretty gummy and weird. It actually doesn't look good. It looks like, remember Rudolph, the Red-Nosed Reindeer, that Rankin-Bass Production. And remember how Donner or one of those darn, lovable reindeer grabbed a clump of mud and threw it on his son's nose? I think, that's what we have done.

That's pretty much the equivalent except I have taken a couple of clumps of mud and thrown them in my kid's eyes at this point. I am worse than Donner. I am worse dad than Donner man. Donner was kind of a jerk of a dad, I have to say. All right. So anyway, we don't want to use monochromes basically where it comes down to them. I am going to go ahead and turn off that check-box. Notice that turning off the check-box isn't enough. It goes ahead now, Photoshop says, Oh! Well, I think you want a negative 2+21+ 20 in my case on a red, green, and blue basis. I will go ahead and apply it to every single one of the channels. So in another words, makes more work for me having done this.

So I am going to go ahead and press and hold the Alt key or the Option key on the Mac and click on that Reset button, formerly canceled. It becomes Reset when you press the Alt or Option key. So what we want to do is, we want to dial in values for red, green, and blue independently. I am going to take red out of the Red channel because we don't need any red channel at work inside of these pupils because red channel is where the pupils are basically white. It's not doing us any good. So I am going to change the red value to 0 and I am going to change the green value to 80%, and the blue value to 20% like so. Then, I am going to go over to, the green channel is fine at 100% right now. Then, I am going to go over to the Blue channel and I am going to change it to 60%, and also 40%. So oops, 40%, so 60% green, and 40% blue.

That ends up darkening the pupils a little bit, and more or less neutralizing them. Although, you might see that there is a little bit of a purple cast going on, especially compared with a green of the irises. Now, neither of my children have green eyes as it turns out. However, inside of this photograph, they are both looking green. Sammy actually has brown eyes, and Max has blue eyes. But, for some reason, they are both showing up the shades of green inside of this photo. So we want to make the pupils a little greener as well to match. So here's what I decided to do. I decided to take 3% worth of color out of both green and blue inside of the blue channel. So I took these values down to 57% and 37% respectively, and then I went to the Red channel, and I took them down by 4.

So 76% and 16%, and I am doing that of course by nudging the values using the Down-arrow key. Then, I went over to green and I raised that value a little bit. I took it up to 102%. Now, you can see that they have a little bit of a green cast. It actually more or less neutralizes this right hand pupil, Max's left pupil of course. But, it makes the other pupils a little bit green, which is fine, which is better than the alternative. So I will go ahead and click OK at this point. Now, if you are lucky, if you had some good stuff to work with inside of the Green and Blue channels, this would pretty much take care of your problem. Now, it wouldn't necessarily be those exact values, but it would be values in that range.

In other words, you are going to back off the content of the Red channel. You are going to put blue and green into the Red channel, and then you might have to put some blue and green into the Blue channel, and you are probably going to leave the Green channel more or less alone. That's kind of standard when you are fixing red eye. However, in our case, it doesn't do the trick. It doesn't completely take care of the problem because we don't have red eye anymore, but we do have that gray eye effect and we also have some pretty bad coronas around Max's eyes. Now, I could go ahead and try to sink that by setting the Blend mode to Multiply, but then we get our red eyes back and it looks terrible. We could try some other modes too like Linear Burn, but that's just going to look wrong.

So we're better off just leaving the Blend mode set to Normal. Instead, what we are going to do, as I say, if you are lucky, that's going to solve your problem. If you are not lucky, in our case we aren't, and it doesn't solve your problem, then you need to apply some additional modifications to those pupils, and we are going to apply those additional modifications in the next exercise.

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