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Photoshop Masking and Compositing: Fundamentals
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Combining pixel and vector masks


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Photoshop Masking and Compositing: Fundamentals

with Deke McClelland

Video: Combining pixel and vector masks

I've saved my progress as Big vector oval.psd found inside the 09_layer_mask folder. So far we've created this layer of desaturation that's masked by this big vector oval. However, I need to somehow paint away the effect inside the man's face and along the woman's neck as well, which means I need to add a pixel-based layer mask and you can combine both pixel-based layer masks and vector-based shape masks inside a single layer and here's how it works. I am going to go ahead and choose the Color Range command which you might feel like by now is a little bit dangerous, but in fact because we do not have a pixel-based layer mask selected it's going to generate a standard selection outline.
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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

Combining pixel and vector masks

I've saved my progress as Big vector oval.psd found inside the 09_layer_mask folder. So far we've created this layer of desaturation that's masked by this big vector oval. However, I need to somehow paint away the effect inside the man's face and along the woman's neck as well, which means I need to add a pixel-based layer mask and you can combine both pixel-based layer masks and vector-based shape masks inside a single layer and here's how it works. I am going to go ahead and choose the Color Range command which you might feel like by now is a little bit dangerous, but in fact because we do not have a pixel-based layer mask selected it's going to generate a standard selection outline.

So I'll go ahead and choose the command and I'm going to click on that formerly blue portion of the man's collar, and then I'll Shift+Drag around into the other regions of t-shirt, including that over the woman shoulder. Now that ends up selecting too much of the image, because the Fuzziness value is cranked up to 100. So I'll take the Fuzziness down to 20, and then I'll click OK. Because no layer mask is selected the Color Range command goes ahead and generates a selection outline. Let's convert that selection into a layer mask by clicking on the Add layer mask icon down here at the bottom of the Layers panel.

You can see now that we have both a pixel-based layer mask and a vector-based shape mask associated with the same layer. Problem is we're still doing a number on this guys jaw. If you zoom in, you can see that I'm leaching the saturation out of his whiskers. So I'm going to go ahead and Alt+ Click or Option+Click on that layer mask thumbnail so I can see what I'm doing. I'll switch to the Brush tool, which I can get of course by pressing the B key, and I'll right-click inside the image window so you can see that I have the Hardness value cranked all the way up to 100%.

My size value is also 150 pixels for what that's worth. I'll go ahead and press the Enter key or the Return key on the Mac to hide that panel. Notice also that the mode is set to Normal up here in the Options bar. Make sure that your foreground color is set to black and then just go ahead and click around these regions. You can drag across his face as long as you're safely away from that edge. Once you come closer to the edge so you're better off just clicking along it, like so. Then I'll go ahead and paint away his face, scroll upward a little bit as well, paint away some of his forehead there, paint into this region.

Now I don't have to paint outside of the Vector mask. The Vector mask is active. So if I press Ctrl+H or Command+H on a Mac I should be able to see it and I'm seeing it once again. So I'm just using that as a guideline so I know where I have to paint and where I don't have to paint around this region and I might paint up beyond it just a little bit, because that is a feathered mask as you may recall. Let's zoom out here. There are portions of the woman's face and neck that need to be painted away and I'll go ahead and paint those away just using the Normal mode once again and this region needs to go as well.

That takes care of it. Now if I go ahead and center my zoom, zoom back in as well, and then Alt+Click or Option+Click in the layer mask thumbnail to reveal the full-color image, I'll also click on the Vector mask thumbnail to turn it off so that I'm no longer seeing that path outline and I'll press the M key to switch back to the Rectangular Marquee tool. You can see we're no longer impacting the whiskers inside of the man's face or any of the regions inside the woman's neck. So this is the effect of that adjustment layer, by the way,. If I turn it off we can see those bright blue shadows inside the gentleman shirt and then if I turn it back on we can see that the shadows are neutralized when.

You turn a layer on and off that contains a Vector mask, the Vector mask will appear once again to make it go away. Just go ahead and click on the Vector mask thumbnail to turn it off. That's how you combine both pixel-based layer masks and vector-based shape masks on a single layer whether it's an adjustment layer or any other kind of layer here inside Photoshop.

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