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In the previous exercise, I promised that we'd apply the mask and then bring the image into a new background, and we are going to do that, but I got a wild idea here, and I have tried out something different that actually works splendidly well for this image. So I thought I'd pass it along to you. As we are going to create yet another mask, but this time we are just going to select the flesh & dress detail, so we are not going to worry much about the hair. We are going to end up selecting into the hair as well, but this mask will serve as extremely well as we composite our image.
So I've saved my changes as Final mask.psd, found inside the 26_masking folder, because I'm looking in my final mask channel. I am going to switch back to the RGB composite image, and I'll go to the Layers panel and confirm that the Saturation layer is active, because I want that hyper-saturated image right there. And I'll go up to the Select menu and choose a Color Range command. I'll press Ctrl+Shift+Alt+O, Cmd+ Shift+Option+O on the Mac, and I will click inside some portion of the face and Shift +Drag in order to add to the selection. Now you may end up selecting into the hair as well by the way and continuously Shift+Dragging here, and that's okay.
It's not a problem to select the hair, we are not interested specifically in selecting it, but if you get a little bit of hair or even a lot bit of hair. That's perfectly acceptable. All right, so this looks like basically that same selection we had created earlier, and I'll go ahead and Shift+ Click on that little bit of shoulder, and that was an obvious mistakes. So let's go ahead and Undo that by pressing Ctrl+Z, Cmd+Z on the Mac. So I'll stick with the selection I got so far, and then I will click OK in order to accept it. Now I'll go up to the Select menu, choose the Refine Edge command, Ctrl+Alt+R, Cmd+Option+R on the Mac.
So I am just replaying the steps I performed before. I'll take the Smooth value up to 10 and the Contrast value up to 25%, so that I'm smoothing up the details a little bit, I'll click OK. And now I'll go over to the Channels panel, and we are going to make a new channel here by dropping down to the panel and clicking on this icon which is the Save selection as channel icon, go ahead and click on it and that creates a new Alpha channel down here at the bottom of the list. I don't want it at the bottom. So I am going to move it up directly under final mask, and I will double-click on it and I will name it flesh & dress, because that's what it will be in just a moment.
All right, I will press Ctrl+D, Cmd+ D on the Mac to deselect the image, and then I'll grab my Lasso tool. Basically what we want to do now is integrate the bottom portion of the mask that we've already done because we don't want to have to redo all that work. So with the Lasso tool selected, I'll Alt+Click like so. So I have the Alt key down and I'm clicking inside of my image, this would be Option+Clicking in the Mac, and it's important that you keep that Alt or Option key down, the entire time you're drawing the selection outline, so that you can lay down the corners in your Polygonal Selection.
And then once you've drawn a selection that looks something like that, I want you to switch to final mask if you're working along with me, and it looks like the edge of my selection gets too close to the hair. So I'm going to Alt+Drag or Option+Drag around this area right there in order to deselect it, maybe a little bit more Alt or Option+Dragging. All right, that looks good to me. Now I'll go up to the Edit menu and choose the Copy command or I could press Ctrl+C, Cmd+C on the Mac in order to copy that selection. Now I'll switch to flesh & dress and I'll go up to the Edit menu and I'll choose the Paste command, or press Ctrl+V, Cmd+V on the Mac, and notice that the mask registers right into place, because I have that selection outline that survives me switching back-and- forth between Alpha Channels, I'm guaranteed to have precise alignment.
All right, let's go ahead and zoom in and make sure that the seams look good. So I have got one seam right there. I'll press Ctrl+H or Cmd+H on the Mac so I don't get rid of my selection outline yet, and that seam looks beautiful. Let's scroll over to the other side of the image, press Ctrl+H or Cmd+H so I know where the seam is. It's right there, press Ctrl+H or Cmd+H again, excellent work. It looks great. All right, now I will click in the image, in order to deselect it, and I am going to grab my Brush tool, and this time around you want to make sure your Mode is set to Normal, because we need to paint in these shoulders, notice that the shoulders are messy right now, and we are going to do that using the Normal mode.
The Opacity should definitely be a 100%. Right-click inside the Image window and what I want you to do is set your Size value pretty high, something like 150 to 175 works, and your Hardness should be a 100% this time around. So a 100% Hardness when you're working with the Normal Mode inside of a mask. That's pretty darn important. When you're working with the Overlay Mode that's when you go to 0% Hardness. That way you get soft transitions, but see if I had my Hardness value set to 0% right now, and I was painting in the Normal Mode, then I would introduce all kinds of weird, fuzzy artifacts into my mask, and that wouldn't work.
All right, I am going to press the Enter key or the Return key on the Mac and I am going to paint away, and that's not doing anything for some reason, apparently I still have my selection going. So I'll press Ctrl+D, Cmd+D on the Mac. That's my guess anyway. Now I'll paint again and sure enough that took care of the problem quite nicely. I'll go ahead and paint up into that detail, there's some weird stuff going on in her face, so I will just kind of click around here. Not worried about the little flecks up in the hair, just leave those alone, and then I will paint up into the shoulder, but you know what, I don't really know what I'm doing at this point. I need to see the image.
So I am going to press the Tilde key in order to show the RGB image at the same time, so that I'm working in the equivalent of the Quick Mask Mode with one big exception, this is a permanent modification to the file. I am not creating a temporary mask on the fly the way you do with Quick Mask. All right, so that looks brilliant. We now have a flesh & dress mask right ready to go. That is going to work out so well for us when we go to composite the image as we will begin to do in the next exercise.
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