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Photoshop Masking and Compositing: Fundamentals
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Clipping and compositing tricks


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Photoshop Masking and Compositing: Fundamentals

with Deke McClelland

Video: Clipping and compositing tricks

In this exercise, we are going to finish off the composition, using a clipping mask as well as a handful of other compositing tricks. I have saved my progress as more flexible glassware.psd, found inside the 09_layermask folder. So I was reviewing the composition figure and you know what, I want these highlights to be brighter, but I want them to be in exactly the same shape they appear here inside the layer Mask. So to do that you need to load up the layer mask as a selection, by Ctrl+Clicking on it or Command+ Clicking on that layer mask thumbnail, the one associate with the Knockout layer, they're inside Layers panel.
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  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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Photoshop Masking and Compositing: Fundamentals
11h 35m Intermediate Nov 04, 2011

Viewers: in countries Watching now:

Photoshop Masking and Compositing: Fundamentals is the introductory installment of Deke McClelland's four-part series on making photorealistic compositions in Photoshop. The course shows how to make selections, refine the selections with masks, and then combine them in new ways, using layer effects, blend modes, and other techniques to create a single seamless piece of artwork. Deke introduces the Channels panel and the alpha channel, the key to masking and transparency in Photoshop; reviews the selection tools, including the Color Range tool , Quick Mask mode, and the Refine Edge command; and shows how to blend masked images so they interact naturally.

Topics include:
  • Setting up a workspace
  • Working with the seven key selection tools
  • Using the Color Range command
  • Automating masking
  • Matching a scene with Smart Filters
  • Choosing the ideal base channel
  • Converting a channel to a mask
  • Painting with the Overlay and Soft Light modes
  • Using History to regain a lost mask
  • Working with the Calculations command
  • Extracting a mask from a Smart Object
  • Masking and compositing light
  • Masking with black and white
  • Working with path outlines
  • Combining pixel and vector masks
  • Creating and feathering a vector mask
Subjects:
Design Masking + Compositing
Software:
Photoshop
Author:
Deke McClelland

Clipping and compositing tricks

In this exercise, we are going to finish off the composition, using a clipping mask as well as a handful of other compositing tricks. I have saved my progress as more flexible glassware.psd, found inside the 09_layermask folder. So I was reviewing the composition figure and you know what, I want these highlights to be brighter, but I want them to be in exactly the same shape they appear here inside the layer Mask. So to do that you need to load up the layer mask as a selection, by Ctrl+Clicking on it or Command+ Clicking on that layer mask thumbnail, the one associate with the Knockout layer, they're inside Layers panel.

And that goes ahead and selects the white area and deselect the black area of the mask. So we need to reverse the selection, by going up to the Select menu and choosing the Inverse command are pressing Ctrl+ Shift+I or Command+Shift+I on the Mac. Now drop down to the soft light layer right there and press Ctrl+Shift+N or Command+Shift+N in order to bring up the New layer dialog box and let's call this new layer highlights and then click OK. All right I want to fill the selected brushstrokes with white, white is my background color, which means I will press Ctrl+Backspace or Command+Delete on the Mac in order to fill the selection, press Ctrld+D or Command+D on a Mac in order to deselect the image.

It now looks like we have these kind of white light sabers coming out of the glasses, I don't want that, they should be clipped inside the contours of the glass, you can clip one layer inside of another, in a variety of different ways one option is to go onto the layer panel and choose Create Clipping mask, you also have that keyboard shortcut Ctrl+ Alt+G or Command+Option+G on the Mac. My favorite way however, is to press the Alt key or the Option key on the Mac and hover your cursor over the horizontal line between Highlights layer and the Soft light layer and click.

And that goes ahead and clips the highlights inside the soft light later, like so. Now the problem with clipping is that the clipped layer not only fits inside, for example, the layer mask that's associated with the soft light layer, the layer that's clipping it, but also you end up assuming the same Opacity and Blend mode settings that are associated with the Clipping layers. So in this case you can see the Opacity value is set to 50%. Let's go ahead and crank it back to 100 % by pressing the 0 key and that does a little bit for the highlights, but not all that much.

Notice, if I turn the Highlights off, and then I turn it back on, it's as if they barely make any difference whatsoever. Here is what you do, if you run into a situation like that. Go ahead and right-click inside the image window in our case and choose Blending options or once again if you loaded D keys, you can press Ctrl+Shift+O or Command+Shift+O on the Mac, to bring up the Blending Options dialog box and notice this check box right there, Blend Clipped layers as Group. Right now, that's what's happening. Photoshop is combining the two layers into one, and then it's applying the Soft Light mode to the layers together.

That's not what we want, so turn the check box off and that'll go ahead and apply the Soft Light mode to the layer first and then add the white clipped layer on top of it and we end up getting these very bright highlights indeed. All right now click OK in order to except that modification. Now I wanted to add a couple of additional highlights along the outside of the glass and I will do that from the knockout layer. So I will go ahead and click on the layer mask thumbnail, for that Knockout layer I'm going to go ahead and grab my Brush tool once again and it's still the same size as it ever was I think, actually it's bigger for some reason, it should be a hundred pixels and the Hardness should be 0%.

Once you have right-clicked and established that those are indeed your settings, then I want you to press the 5 key to reduce the Opacity value to 50% make sure black is your foreground color as it is in my case. Click right about there in the bubbles on right-hand glass and Shift+Click above and beyond the top of the glass, then do the same thing over here on the left-hand side of the left glass, click down there inside the liquid and Shift+Click above the top of the glass. Now we want to reduce the size of the cursor.

I am going to right-click inside the image window and take the Size value down by half to 50 pixels. And then I will press the 0 key to restore the Opacity value to 100% and I will click right about there in the center of the previous brush stroke essentially, Shift+Click up above, do the same thing over your right-hand side, click and then Shift+Click in order to draw a straight line of highlight. That is very nearly the final effect we are looking for. The only thing that's bugging me at this point is that the background is uniformly in focus and I think we'll get a more dramatic composition, if we let the sunset drift out of focus as the water resides away from this.

So click on that Beach layer down there the bottom of the stack. We might as well right-click on it this time and choose Convert to Smart Object, again you have got the keyboard shortcut Ctrl+, on the PC or Command+, on the Mac. Go up to the Filter menu, choose Blur and I want you to choose Gaussian blur and go ahead and take the Radius value up to 5 pixels, then click OK. This time we are going to take advantage of the filter mask, go ahead and click on the white filter next of the word Smart Filters.

Go ahead and select the Gradient tool which of course you can get by pressing the G key. Right now, my foreground color is black and I'll be creating a Black to Transparent gradient, that's just fine. And now I am going to drag from the bottom of the waves here between the two glasses upward while pressing the Shift key until I arrive at the horizon line, which is the intersection in this case of the ocean and the sky. I will go ahead and release and now you can see that the background is fading into focus as it comes toward us.

I realized that I forgot to go back and reinstate the Screen mode, if you click on that layer, that's called Screen 50 %, it still set to the Normal mode which is when I set it to when I was creating that layer mask in the first place. So what we need to do is switch it out to the Screen mode, the great thing about Blend modes and other parametric modifications inside of Photoshop is you can switch them around anytime you like. So if you make a mistake like I did, all you have to do is go up to that Blend mode pop-up menu and reinstate the Screen mode as in this case here and we end up with a final effect.

There is one more thing I want to do, I am going to switch to the Highlights layer right there, the one that's clipped inside the Soft Light layer and I notice that my highlights are kind of abruptly ending inside of the liquid portion of the glasses. Let's go ahead and mask them as well. I will grab my Brush tool, I am going to increase the size of the brush, fairly dramatically by pressing ] key. Drop down to the Add layer mask icon at the bottom of Layers panel and click on it. With black as a foreground color, I am going to paint underneath that rim of bubbles right there, like so.

So that the highlight extends from the top the glass into those dark bubbles, but not any farther down and that is my final effect folks, I am going to press the F key a couple times, zoom in on the image as well. That is one of the many ways that you can mass glass inside of Photoshop, in this case using a combination of a layer group, a knockout layer, a clipping mask and a bunch of other compositing tricks, here inside Photoshop.

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