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Cleaning up and confirming

From: Photoshop Masking and Compositing: Fundamentals

Video: Cleaning up and confirming

In this exercise, we're going to finish off the boot mask, and I'll also pass along this really great method for gauging the quality of your masks. I've saved my progress as The painted boot.psd. I have the boot channel selected; we're viewing the RGB image as well. I'm going to go ahead and scroll up to this ankle region of the boot, and you'll notice that the mask appears to be in fairly good shape actually by comparison of what we saw before. So the Magnetic Lasso tool does a better job of following these sort of wrinkly contours better than it did the smooth contours at the base of the foot.

Cleaning up and confirming

In this exercise, we're going to finish off the boot mask, and I'll also pass along this really great method for gauging the quality of your masks. I've saved my progress as The painted boot.psd. I have the boot channel selected; we're viewing the RGB image as well. I'm going to go ahead and scroll up to this ankle region of the boot, and you'll notice that the mask appears to be in fairly good shape actually by comparison of what we saw before. So the Magnetic Lasso tool does a better job of following these sort of wrinkly contours better than it did the smooth contours at the base of the foot.

However, everything is not quite in as good as shape as it looks. If you press the tilde key or click on that eyeball in front of RGB in order to turn the RGB image off, then you'll see that we do have a fair amount of weird jagged transitions. So let's smooth them out by drawing a rectangular marquee using the Rectangular Marquee tool around this ankle region and then go up to the Filter menu, choose Noise, and choose the Median command. I ultimately came up with a Radius value of about 2 pixels; you could take it higher I guess.

You could take it to 3 pixels if you like. In fact, I think I will, and then click OK in order to accept that modification, and now go ahead and deselect the image and turn the RGB image back on. Now, you'll note that I applied the Median Filter while we were viewing the mask by itself. There are times where it's easier to gauge what's going on when you're not seeing the image in the background, because seeing the image was preventing us from seeing those little jagged transitions, for example,. Al right! Now, let's go ahead and switch back to the Brush tool. Note that my foreground color is white and I'm going to go ahead and sort of just drag around this little wrinkle there in order to unmask it, and then I'll go ahead and click and drag around this region as well because we need to scoot the mask out just a little bit.

Finally, notice this area here. Doesn't look like it's really a part of the boot, and yet the mask hasn't been assigned to this area. If you want to check that out, just go ahead and turn off the mask for a moment, so you can see the RGB image. There is no shortcut for this, by the way,. If you want to turn the mask on or off, you have to do so by clicking on the eyeball, and then I'll turn the mask back on, and sure enough, this area is part of the background. So I'll go ahead and click and it turns out I am painting with a wrong color, that kind of stuff happens all the time. So I'll just press Ctrl+Z, Command+Z on a Mac, press the X key in order to switch my foreground color back to black, and then I'll click and Shift+Click right about there and Shift+Click here as well.

That looks like I've got a little bit of a corner, so I'll press the X key in order to switch the foreground color to white and then click here and Shift+Click there in order to scalp just a tiny bit of that corner away. All right! This looks pretty darn good to me. Now, we still have that problem down here toward the bottom where I have this unpainted region, and it's very tempting to just press the X key in order to switch my foreground color back to black and just paint this area away. But, what happens if you miss just a tiny little sliver like that as you're painting? Well, that can end up creating some big problems down the line.

For example, we'll ultimately be assigning a drop-shadow and an inner glow to our nameplate, and if I have so much as a couple of pixels gone wrong, then the Inner Glow effect will glom onto those pixels, and create a huge big halo. We don't want to do that. So we want to make sure every single pixel from the background has been masked away, which means I'm going to press Ctrl+Z or Command+Z on the Mac to undo that brushstroke. And instead, we're going to take a more scientific approach believe it or not, go ahead and turn off the RGB image, and next, I want you to select the Magic Wand tool from the Quick Selection tool flyout menu.

Now, we'll be discussing exactly how this tool works in a future chapter, because even though a lot of people roundly denigrate the tool. It does have its uses, and this is one of them. So for now, without necessarily knowing how these controls work, I want you to set the Tolerance value to 0 and I want you to turn off the Anti-alias check box, and then click in an obviously black region of the mask in order to select all of the black pixels. Now, you'll see exactly where the transition between black and non-black is inside of this mask.

Now, I want you to switch to the Lasso tool which you can get by pressing the L key, press the Shift key, so that you add to the selection and go ahead and drag around this region that needs to be masked away. All right! After you release, you should see marching ants tracing around the perimeter of the image as well as around the outside of the boot, but you shouldn't see any marching ants anywhere else. Assuming that's the case, make sure your foreground color is black as it is for me and then press Alt+Backspace or Option+Delete on the Mac in order to absolutely mask those pixels away. All right! Now, you can press Ctrl+D or Command+D on the Mac in order to deselect the image.

All right! And now that I have a chance to see my mask by itself, I can see that I've got a little bit of a weird transition down here at the toe, and so I could go ahead and take care of that once again using the Brush tool, and I'm going to paint with black I think to slightly cut a little bit of the boot away. So I'll click right about there, and then I will Shift+Click at this location, and that ends up cleaning up those transitions. All right! That's it! We have now finished off the boot mask. In the next exercise, we're going to take both the nameplate and boot masks, and convert them to a single selection outline.

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This video is part of

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

128 video lessons · 29321 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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