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Compositing and coloring the flame


From:

Photoshop Masking and Compositing: Hair

with Deke McClelland

Video: Compositing and coloring the flame

In this final exercise we're going to take our flame mask and we're going to use it to build a bright shining flame in our final composition. If you're working along with me, make sure the Flame channel is selected here inside the Channels panel and when I went to use this mask, I noticed that it was a little dimmer than I'd like it to be. So I'm going to brighten it up by pressing Ctrl+L or Command+L on the Mac and reducing that white point value to 125. In other words, any luminous level, 125 or brighter will be clipped to white and that basically doubles the brightness of the mask.
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  1. 2m 14s
    1. Welcome
      2m 14s
  2. 41m 22s
    1. Introducing the hair masking options
      4m 18s
    2. Calculating with the Add mode
      5m 58s
    3. Using the Scale and Offset values
      3m 47s
    4. Calculating with the Subtract mode
      5m 19s
    5. Enhancing a mask with Apply Image
      4m 42s
    6. Traditional blue screen masking
      3m 7s
    7. Painting in the missing details
      4m 23s
    8. Compositing dark hair
      5m 47s
    9. Creating an in-text reflection effect
      4m 1s
  3. 41m 44s
    1. Creating a contrast mask
      4m 35s
    2. Cleaning up a base mask
      5m 55s
    3. Reinstating missing details
      5m 12s
    4. Building a second-pass mask
      6m 30s
    5. Bringing back the most fragile hairs
      5m 17s
    6. Smudging bad transitions
      5m 19s
    7. Painting in missing hairs
      5m 6s
    8. Matching the light source
      3m 50s
  4. 51m 12s
    1. Calculating blonde hair
      4m 50s
    2. Creating two contrasting iterations
      3m 27s
    3. Merging two iterations inside a mask
      4m 44s
    4. Performing selective edits with Dodge and Burn
      5m 19s
    5. Painting in Airbrush mode
      4m 30s
    6. Repairing details with a warped ellipse
      6m 18s
    7. Pulling a background with Apply Image
      3m 57s
    8. Blending clipped layers independently
      6m 42s
    9. Building a flame mask
      7m 25s
    10. Compositing and coloring the flame
      4m 0s
  5. 48m 17s
    1. Making a first-pass calculation
      4m 54s
    2. Making a second-pass calculation
      4m 32s
    3. Refining and combining the two passes
      5m 28s
    4. Painting and editing the third-pass mask
      6m 16s
    5. Merging channels inside a mask
      4m 5s
    6. Cleaning up with Dodge and Brush
      7m 41s
    7. Adding the earring to the mask
      4m 17s
    8. Tweaking and integrating the hair
      6m 1s
    9. Restoring the mask's focus with History
      5m 3s
  6. 1m 17s
    1. Next steps
      1m 17s

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Watch the Online Video Course Photoshop Masking and Compositing: Hair
3h 6m Intermediate Dec 20, 2011

Viewers: in countries Watching now:

In this installment of his popular Masking & Compositing series, Photoshop guru Deke McClelland shows how to select hair—down to the individual strands—and composite portraits against new backgrounds. The course covers how to mask out hair, paint in detail, blend hair, merge channels, and match light sources. Deke also explores special techniques for working with both dark and light hair, as well as extracting hair from complex backgrounds.

Topics include:
  • Understanding the Calculations command
  • Calculating masks with the Subtract and Add modes
  • Enhancing a mask with Apply Image
  • Creating a traditional blue screen mask
  • Masking dark hair against a busy background
  • Painting in missing hairs with a Wacom tablet
  • Masking blonde hair and flames
  • Performing selective edits with Dodge and Burn
  • Masking a difficult image in multiple passes
Subject:
Design
Software:
Photoshop
Author:
Deke McClelland

Compositing and coloring the flame

In this final exercise we're going to take our flame mask and we're going to use it to build a bright shining flame in our final composition. If you're working along with me, make sure the Flame channel is selected here inside the Channels panel and when I went to use this mask, I noticed that it was a little dimmer than I'd like it to be. So I'm going to brighten it up by pressing Ctrl+L or Command+L on the Mac and reducing that white point value to 125. In other words, any luminous level, 125 or brighter will be clipped to white and that basically doubles the brightness of the mask.

Now I'll go ahead and click OK in order to accept that change. Notice, by the way, that because the Flame channel is the second alpha channel it has a keyboard shortcut of Ctrl+7 or Command+7 on the Mac that will be important in just a moment. I'm going to click on RGB to return to the composite image then switch to the layers panel and I need to reassemble my composition by pressing the Alt key or the Option key on a Mac and clicking the horizontal line between the top two layers, and then I'll Shift+Click on the layer mask thumbnail in order to turn it back on.

With the top layer selected go ahead and press Ctrl+Alt+7 or Command+Option+7 to load up that Flame mask, and then we're going to jump to an independent layer by pressing Ctrl+Alt+J or Command+Option+J on the Mac which will bring up the New layer dialog box, let's go ahead and name this layer Flame and change its mode from Normal to Screen, so that we're creating a brightening effect and then click OK and we end up with a much brighter flame as you can see something much more credible I think.

Now notice because we have had a selection active before we press Ctrl+Alt+J or Command+Option+J we end up with the static layer, in other words, it's not layer with the layer mask this time, which gives us less flexibility if we wanted to modify the flame in the future. However, because it's such an incidental item, that's not going to cause this problems. However, I do want to brighten the flame still further, so I'm going to press the Alt key or the Option key on a Mac, click the black white icon at the bottom of the layer panel and choose Brightness/Contrast, this is just going to serve as a dummy layer, we're going to be applying the brightness exclusively using a blend mode.

So let's call this layer X2, because we're essentially doubling the brightness of the flame. Turn on the Use Previously layer to create clipping mask checkbox, so that we're brightening the flame independently of the rest of the image and then go ahead and change the mode from Normal to Screen and click OK and you can see that we have a brighter effect still. I'm going to go ahead and collapse the Adjustments panel so I've a little more room to work. It seems to me that flame is now little bit too bright, so I'll press the 7 key in order to reduce the opacity of that adjustment layer to 70%.

Now I'm going to click on the Flame layer, because this one more thing here thanks to the interaction of this orange flame with a blue background, we end up with these pinks around the flame and I don't like that at all, so I want to add a little additional color to the flame and I'm going to do that using a layer effect I'll drop down to the fx icon and choose Color Overlay very important, by the way, that the Flame layer is selected and not the Adjustment layer and then inside the layer dialog box go ahead and click on the Color swatch and let change that Hue value to 30 degrees for orange and make sure the Saturation and Brightness values are set to a 100% a piece and then click OK.

And now I'm going to change the blend mode from Normal to Overlay and as giving us the best effect. Now we have this extremely orange flame indeed, I'm going to back it off by taking the opacity value down to 50% and that is the final effect folks. I'll go ahead and press the F key a couple of times in order to switch to full screen mode and then zoom out by pressing Ctrl+0 or Command+0 on a Mac and the result is some impeccably masked blonde hair along with this bright shining flame.

Thanks to the wide range of masking and compositing options available to you in Photoshop.

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