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Photoshop CS6 One-on-One: Advanced

Editing and exporting a Field Blur mask


From:

Photoshop CS6 One-on-One: Advanced

with Deke McClelland

Video: Editing and exporting a Field Blur mask

Field Blur and the other Blur Gallery effects work their magic by automatically generating masks. So in this case, we have a mask that's protecting Colleen from the blur that surrounds her. In this movie, I'll show you not only how to view that mask, but how to modify it and export it to the Channels panel as well, and then we'll turn around and mask Colleen against the sharply focused background. So for starters here, because we are going to make some modifications, I am going to turn off the Field Blur layer, click on the background item here inside the Layers panel, and press Ctrl+Alt+J or Command+Option+J on the Mac to make another copy of it.
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  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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Photoshop CS6 One-on-One: Advanced
11h 8m Advanced Sep 12, 2012

Viewers: in countries Watching now:

The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.

Topics include:
  • Adjusting the color settings in Photoshop
  • Placing and blending Smart Objects in a scene
  • Transforming and warping vector objects
  • Correcting for lens distortion
  • Mitigating halos and enhancing contrast with Shadows/Highlights
  • Adding and editing points on a curve
  • Editing multiple images in Camera Raw
  • Creating a pro-quality sepia tone or quadtone
  • Colorizing with blend modes and opacity
  • Reducing and smoothing over noise
  • Creating depth-of-field effects with blur
  • Selecting with Color Range and Quick Mask
  • Perfecting a mask with Refine Edge
  • Drawing paths with the Pen tool
  • Converting path outlines to vector masks
Subjects:
Design Raw Processing
Software:
Photoshop Camera Raw
Author:
Deke McClelland

Editing and exporting a Field Blur mask

Field Blur and the other Blur Gallery effects work their magic by automatically generating masks. So in this case, we have a mask that's protecting Colleen from the blur that surrounds her. In this movie, I'll show you not only how to view that mask, but how to modify it and export it to the Channels panel as well, and then we'll turn around and mask Colleen against the sharply focused background. So for starters here, because we are going to make some modifications, I am going to turn off the Field Blur layer, click on the background item here inside the Layers panel, and press Ctrl+Alt+J or Command+Option+J on the Mac to make another copy of it.

And I will call this new layer 2nd pass and then click OK. So now that we once again have a copy of the sharply focused version of the image, I will Press Ctrl+Alt+F or Command+Option+F on the Mac to revisit the Filter Gallery, complete with all of my previously applied pins. Now there're two ways to view the mask, and they both involve the M key. If you press and hold the M key, you'll see the mask temporarily, and then you can release the M key in order to return to the full-color image. If you want the mask to remain onscreen so that you can modify it, then tap the M key, and then of course you tap the M key again to return to the image.

I am going to tap the M key in order to bring up the mask. Now, wherever you see black, the image is protected from the blur. And in this case, we have got this big blob of black that's surrounding and protecting Colleen. Wherever you see gray, you're getting partial blurs, and then wherever we have white inside of the mask, we are seeing the full effect of the blur. And in our case, the whiteness surrounds each one of the pins that are set to a radius of 25 pixels. Now in so far as masks going, this is pretty rough, but it's good enough to do the job, except for down here in the area occupied by our model Colleen.

Notice that we have a few gaps in the blackness, meaning that we are slightly blurring the areas inside the subject of our photograph. So what I am going to do here is set some points to eliminate that dark gray. When I first click with a tool, I am going to create some brightness, because after all, the blur is set by default to 15 pixels. If I go ahead and take that blur value down, you can see, that creates blackness inside the mask. Now, I will set another pin at this location and I'll go ahead and dial it down as well to darken the mask, and I will click right about here, which should be the neck region, and I will dial it down as well. And we get these nice solid areas of black, as you can see.

All right, now let's check our work by pressing the M key to switch back to the full-color image, and it looks like we've done a pretty splendid job. Now, the only thing I am uncomfortable with is the fact that the left side of Colleen's face is getting a little too much attention where the blur is concerned, and so it's encroaching on her eye. But we will go ahead and solve that problem inside the larger composition in just a moment. In the meantime, what I would like you to do is go ahead and turn on Save Mask to Channels, which is just a great idea in case you ever have to revisit that mask in the future.

Then, assuming you're comfortable with what you have, go ahead and click on the OK button in order to apply that effect. And you may have to wait a few moments for the progress bar, because this is a pretty processor-intense operation. All right, now if I switch over to the Channels panel, I can see that I have a new alpha channel that's called Blur Mask, and I can load that as a selection outline and use it to mask the image in other ways anytime I like. All right, now I will switch back to the RGB image and return to the Layers panel. What I really want to do is use a layer mask to mask away some of the blurriness associated with this 2nd pass layer.

So I will go ahead and drop down to the Add Layer Mask icon at the bottom of the panel, and I will click on it in order to create a layer mask. And now I will get my Brush tool, which you can get by pressing the B key. I will right- click inside my image, so you can see, I am starting with the Size value of 175 pixels and the Hardness is set to 75%, which will give us a little bit in the way of soft transitions while at the same time allowing us to paint in some focus. So now I will press the Enter key or the Return key on the Mac in order to hide that panel. Make sure your foreground color is black by pressing the D key and then the X key, and I am going to paint right about there inside of the caller and down here along the shoulder.

And what we're doing is we are painting down to the background, which is sharply focused throughout. Now I will paint up the side of Colleen's face right there and over the flesh tones, into her eye, and up in to the hair as well. And I might paint slightly into the ear there in order to reestablish some of that focus. And if you feel like you want to go a little farther with this, you can zoom on in, so you can better see what you're doing, and then in my case, I am going to paint down the side of her face, so we get a little of that structure back.

You don't want to go too far, because if you do, after all, you'll unblur the background, which is the great problems. And I have done that, so I will go ahead and reduce the size of my cursor, press the X key so I can now paint with white, and I will paint back in some of that blur, as you see me doing now. So in my experience with the blur gallery by the way, if you're going to go this route, if you want to paint in blurs in some areas and paint them away in others, is that you're best off blurring too much of the image. That way you can paint back in the focus later. All right, I am going to press the X key to switch my Foreground Color back to black, and I might paint back up into the hair a little bit as well, as long as I am zoomed in, and I can see what I am doing.

I don't want to paint too far into the ears, because I want them to sort of decline out of focus there. But I might want to bring back the detail like the earring and the side of the neck, and I will go ahead and paint back in the edge of this collar as well. All right, that looks pretty good to me. I will press Ctrl+0 or Command+0 to zoom on out there and then go ahead and scroll down inside of the image as well. And now I will press Shift+F in order to switch to Full Screen mode. Go ahead and scroll down little more here, zoom in as well. And just to give you a sense of what we have been able to accomplish here, this is the original unblurred version of the scene, and this is our depth-of-field effect that we have created in post using the Field Blur filter, combined with some very basic masking, here inside Photoshop.

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