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Creating a High Pass mask

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Creating a High Pass mask

So we have seen several ways to mask a complicated foreground image set against the busy background. We have seen how to use a Pen tool, of course, along with the Free Form and Magnetic Pen tool variations. We have seen Arbitrary Maps, that you apply using the Pencil tool inside of the Curves dialog box. We have also seen how you can use History to blend between different Arbitrary Map variations. In the next few exercises I am going to show you worst case scenario masking. This is like when you can't get anything else to work, you bring out the High Pass Filter and the thing about the High Pass Filter is it is brain dead. It's very easy to apply, it's very easy to get a sense of how it works, but it also is the most laborious technique of them all.

Creating a High Pass mask

So we have seen several ways to mask a complicated foreground image set against the busy background. We have seen how to use a Pen tool, of course, along with the Free Form and Magnetic Pen tool variations. We have seen Arbitrary Maps, that you apply using the Pencil tool inside of the Curves dialog box. We have also seen how you can use History to blend between different Arbitrary Map variations. In the next few exercises I am going to show you worst case scenario masking. This is like when you can't get anything else to work, you bring out the High Pass Filter and the thing about the High Pass Filter is it is brain dead. It's very easy to apply, it's very easy to get a sense of how it works, but it also is the most laborious technique of them all.

It requires you to basically convert the image into this widely complicated coloring book and then you are in charge of deciding which lines are important and which lines are not important in coloring white inside the parrot or I am sorry the macaw, in this case, and painting black inside the background. It gets kind of Zen, really you will see, it does take the most time also and it is just kind of the most tedious. So get ready for that, something to look forward to. So here I am working inside of an image called Completed arb mask.tif and it's found inside the 16_tough_stuff folder. You can see that we have got basically everything we have created so far. We have got that original arb map Alpha channel that we created a few exercises ago now. Then we have got the completed really good mask that we created over the course of last few exercises using a bunch of different Arbitrary Maps along with the History Brush and so on. We have got that path that I built using the Pen tool around the bill outline. So it's all there. I will just try to show you that everything that we have done so far is here, just FYI, doesn't really matter, because we are going to start over from scratch.

This time we are going to grab the Green channel and the reason we are going to work with the Green channel is because it provides the highest degree of contrast overall and it has the lowest amount of noise and posterization going on. So I am going to go ahead and grab Green and I am going to drag it to the little Page icon in order to make a duplicate of it. You may recall that the Green channel is our when in doubt channel. If you are not really sure which channel to grab, go ahead and dupe the Green channel and it's very often by the way the best channel for High Pass Masking. So let's go ahead and rename as High Pass and then we are going to grab the High Pass Filter. Now you may recall we saw the High Pass Filter back in Chapter 12 when we were looking at using High Pass as a sharpening tool. Now we are going to use it as a coloring book tool as you will see.

So go up to the Filter menu, choose Other and choose High Pass or you can press my keyboard shortcut if you loaded my Deke Keys shortcuts way back when, and that's Shift+F10. What it does, you may recall that it's basically sending all non-edges to gray and the edges are hanging on for dear life, essentially, and they are trying to remain high-contrast if they can. Now, where masking is concerned, higher radius values are going to give you less precise, more generalized results. So they are going to result in less complicated, but less accurate coloring books, meaning that you are going to fly through it more quickly, but you are also not going to get very good results.

If you go low with the radius value, like I have gone as low and this is criminally insane by the way to go this low, but I have gone as low as 3 for a radius value, which gives you a super duper accurate coloring book, really, really accurate and you will spend the rest of your life working on it. It turns the masking process into about, not really that long, but about a conservatively a 20-30 minute process and that's if you really get it and you really move through it quickly. It could be more like an hour or two hours, frankly. I suggest that we go from 10 to 20, that we work in the 10-20 range with High Pass. I am, in fact, going to enter a radius of 10, I invite you to do that along with me and click OK.

Now it doesn't look like a coloring book at all so far. So we need to turn these very vague gray outlines that we have crafted thus far into serious black and white outlines and we are going to do that using our old friend the Levels command. So press Ctrl+L, Command+L on the Mac and you want to basically squish this histogram like so, just really tighten it on the central part of this histogram. What I recommend, in this case, is a 120 for the black point value and a 135, which is 255 white minus a 120. So we are going a 120 in on both sides here, 135 for the white point value and then click OK. We have created ourselves something that looks like a macaw that has been photocopied about 20 times, that is, we have got 20 iterations of photocopy going.

In other words, it looks pretty bad. But, as a coloring book it looks great. Now the problem with it is that sometimes, let's go ahead and zoom in down here, sometimes Photoshop has done us this service of tracing black on the inside of said animal and white on the outside. So we need some uniformity here. What I am suggesting we are going to do, because we ultimately want the bird to be white and the background to be black, I am suggesting we shift the whites inside and the blacks outside. So get the Lasso tool by pressing the L key, of course, and then I am going to go ahead and select around this region. Can you see what I am doing? It's hard to sort of track this since I have got a Lasso tool in this black and white area that I am tracing this outline around this black and white image, but it goes around like this here, you can see. So I am coming in right about there.

I'm cleaving in on this portion of the animal's chin, is it? And on this area where its buck teeth would come out if it had them. So we have this area selected and then I am going to press Ctrl+I or Command+I on the Mac to invert it. Now all of a sudden I am not terribly concerned about the Anti-alias edges. Well for one thing I have Anti-alias turned off with my Lasso tool, so that's probably the best way to work actually. But it doesn't really matter for this technique, you could have the Anti-alias on or off, it's going to fair pretty much the same, not matter what.

Now let's go ahead and grab this tuft, this unknown anatomical region on this animal, and let's go ahead and select it and press Ctrl+I or Command+I on the Mac to move the black edges out and the white edges in. Then let's go ahead and grab this area and again you have got to make some choices, sometimes actually that was a bad choice on my part. Sometimes you are not exactly sure where you want to trace the threshold between the inverted area and the non inverted area, but just do your best, just make whatever choices, because you are going to have to go back and fuss with it a little anyway.

I have gone ahead and selected this region, press Ctrl+I, Command+I on the Mac in order to invert that and it's questionable what I have done here. I am not sure that I have made exactly the right choice, but the choice stands and now there is just this little guy right here that needs to be inverted to and again am I making the right choice? I don't know, let's just make a decision and go with it. Press Ctrl+I, Command+I on the Mac in order to invert that. We have some iffy details going on there. But now the great news is, I can go in and start coloring in the interior of the macaw and I can color the background as well. I can color the interior white and I can color the background black and that's what we are going to do in the very next exercise.

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This video is part of

Image for Photoshop CS3 Channels & Masks: Advanced Techniques
Photoshop CS3 Channels & Masks: Advanced Techniques

190 video lessons · 26369 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2h 13m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 10s
    4. Luminance blending
      8m 40s
    5. Forcing the visibility of underlying layers
      4m 4s
    6. Adjusting the appearance of clipped layers
      4m 34s
    7. Selecting a Blend If channel
      6m 12s
    8. Enhancing highlights by hiding them
      5m 9s
    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 39s
    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 35s
    17. Matching colors
      9m 13s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 50s
  2. 2h 33m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 18s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 3s
    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 1s
    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 45s
    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 16s
    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 27m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 22s
    3. Brightening and neutralizing the eyes
      8m 22s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 4s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      6m 0s
    9. Refining the color mask
      6m 40s
    10. Adjusting the edges around fabric
      7m 56s
    11. Perfecting hair
      9m 35s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 48s
    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 46s
    21. Applying the edge mask
      6m 2s
    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 49s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 10s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 1s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 43s
    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 44s
    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 39s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 18s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 9s
    20. Making pupils match
      4m 8s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 37s
    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 22s
    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 33s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 25s
    13. Comparing two channels with Difference
      5m 24s
    14. Enhancing the contrast with Curves
      9m 11s
    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 1s
    19. Painting away the face and chin
      4m 53s
    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 35s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 25s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 15s
    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
      6m 0s
    12. Combining paths in a vector mask
      7m 55s
    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 10s
    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 17s
    7. Roughing in an object mask
      6m 49s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 53s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 9s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 55s
    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 29s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 43s
    21. Building the flame mask
      9m 22s
    22. Amplifying the flame
      3m 53s
    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 25s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 29s
    32. Subtracting and merging the beak
      11m 6s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 50s
    2. Scanning line art in 8-bit and 16-bit
      5m 9s
    3. Measuring the 16-bit difference
      8m 9s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 13s
    6. Editing in Camera Raw, opening in 16-bit
      8m 22s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 18s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      6m 0s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 25s
    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 32s
    5. Using a two-channel displacement map
      6m 28s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 34s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 7s
    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 5s
    14. Making a repeating watermark pattern
      9m 22s
    15. 3D embossing with Lighting Effects
      10m 48s
    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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