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Creating a unique multichannel effect

From: Photoshop Masking and Compositing: Fundamentals

Video: Creating a unique multichannel effect

All right, so far we have this warm and colorful variation on the toucan that we've assembled in a Multi-Channel mode, but we ultimately want it to look like this. So we still have some work left ahead of us. Notice that this final version of the image is an RGB file. If you're following along with me, you want to make sure that you have that original image Baseline toucan.psd open and waiting for you on screen. And for what it's worth, I've gone ahead and saved out my progress as Multichannel image.psd. All right! So far, we've got this image that says it has Cyan, Magenta, Yellow, and Black channels, but notice that there is no composite view at the top of the stack.

Creating a unique multichannel effect

All right, so far we have this warm and colorful variation on the toucan that we've assembled in a Multi-Channel mode, but we ultimately want it to look like this. So we still have some work left ahead of us. Notice that this final version of the image is an RGB file. If you're following along with me, you want to make sure that you have that original image Baseline toucan.psd open and waiting for you on screen. And for what it's worth, I've gone ahead and saved out my progress as Multichannel image.psd. All right! So far, we've got this image that says it has Cyan, Magenta, Yellow, and Black channels, but notice that there is no composite view at the top of the stack.

And if you switch over to Layers panel, you're not going to see a very good preview of the image. In fact, we're just seeing the contents of the selected channel, which happens to be cyan, and therefore, the thumbnail is entirely white. What we need to do is assign some sort of meaning to this image. Now, we can't just convert the image back to RGB, because I will go back to the Channels panel for a moment. What Photoshop will do is it will convert the Cyan Channel back to Red, Magenta back to Green, Yellow back to Blue, and then we'll have this channel called Black, that's just sort of hanging off as a spot color.

We need to tell Photoshop, this is a CMYK image, by going up to the Image menu, choosing mode, and then choosing CMYK Color. Photoshop will give me that same message about how I am going to convert to that US Web Coated profile. I will just go ahead and click OK to let it happen and now notice that we have a composite view of the image called CMYK at the top of the Channels panel. Also, over here in the Layers panel, we can see an actual thumbnail of the image. You may have also noticed a slight color shift on screen. If I press Ctrl+Z, or Command+Z on the Mac, this is the before version of the image in a Multichannel mode.

If I press Ctrl or Command+Z again, this is the after version of the image. It brightened up slightly, not because Photoshop did anything to the channels, the channels are exactly the way they were before. So converting in and out of the Multichannel mode is altogether nondestructive. What's happened is we're now seeing a color -managed display of our image. All right! Now we're safe to convert the image back to RGB. So go up to the Image menu, choose mode, and choose RGB Color, and you will go ahead and retain the appearance of the image even though Photoshop this time has applied the so-called Destructive Modification and rewritten the pixels inside the image to generate Red, Green, and Blue Channels. All right! I will switch back to the RGB composite again. All right! Now, let's say I want to restore that original version of the image, and by that I mean, I will go up to the Window menu and choose the History command in order to bring up the History panel.

If I click on the very first snapshot at the top of the list that reads Untitled followed by a number, then I will see that original full-color photograph. That's the one that I want to go ahead and reinstate on an independent layer. So I'll once again click on that last state, RGB Color, go ahead and hide the History panel, switch back to the Layers panel, and press Ctrl+Shift+N or Command+Shift+N on the Mac in order to create a new layer, and we'll call this layer original, and click OK. Now, I want to fill this layer with the History state.

So I would check my History panel to make sure that I have a little brush in front of that snapshot, that tells me that the original snapshot is the source state for this next operation, and here's what you do. You go up to the Edit menu, you choose the Fill command, and you set the Use option up here at the top of the dialog box to History, and then click OK. I am going to click Cancel, because I am going to show you this awesome keyboard shortcut. Most people don't know about this one. You may well know it, maybe not, I don't know, but I am going to tell you anyway. If you press Ctrl+Alt+Backspace or Command+Option+Delete on the Mac, then you'll go ahead and fill the current layer with that History State, and what it means is we've got the original image back, so everything we've done has been a nondestructive modification, even though we've gone in and out of three different modes.

Then, go up to the Blend mode popup menu, there in the top-left corner of the Layers panel, and change the Blend mode to Saturation. Now, we'll go ahead and take the saturation values from the original layer and blend them with the Hue and Luminance values of the background layer, and as a result, we get a higher saturation image. This is the Multichannel variation there. Watch this area inside of the bird's eye, when I turn this original layer back on, it's so much brighter. The colors in general are just so awesome in my opinion. All right! Now, I'm going to switch back to that Baseline toucan.psd image and I'll click on that grad layer to select it and then right-click on an empty portion of that layer, that is, not on either of the thumbnails or on the layer name, and choose Duplicate layer, and I'll change the Document option to Multichannel image, which is my image in progress and I'll click OK. All right! Now, let's switch back to that image, and you'll see that I've gone ahead and added back in that blue to violent background, and we end up with this final effect.

As I say, this isn't the kind of thing that you're going to see people do on a regular basis. But multichannel tricks, well, a little bit wacky, can be an awful lot of fun even though multichannel is really just designed to hold desperate masks. All right! So consider that your introduction to the Channels panel. In the next chapter, we'll take our first look at creating masks.

Show transcript

This video is part of

Image for Photoshop Masking and Compositing: Fundamentals
Photoshop Masking and Compositing: Fundamentals

128 video lessons · 28934 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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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