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Photoshop Masking and Compositing: Fundamentals

From: Photoshop Masking and Compositing: Fundamentals

Video: Introducing a brilliant light source

Just so as you know I went ahead and double-clicked the Clouds Filter a few more times until I achieve this effect right here, and then I went ahead and saved it off as Masked sunrays.psd. In this exercise we're going to finish off the composition by adding a burst of light coming out from underneath the clouds and we are going to embellish that light using a couple of smart filters as well. Again, if you're working along with me go ahead and scroll up to the top of the list here inside the Layers panel and you'll find this layer called sunlight.

Introducing a brilliant light source

Just so as you know I went ahead and double-clicked the Clouds Filter a few more times until I achieve this effect right here, and then I went ahead and saved it off as Masked sunrays.psd. In this exercise we're going to finish off the composition by adding a burst of light coming out from underneath the clouds and we are going to embellish that light using a couple of smart filters as well. Again, if you're working along with me go ahead and scroll up to the top of the list here inside the Layers panel and you'll find this layer called sunlight.

I want you to go ahead and turn it on and notice it's just this black area with this blob of white in the upper right- hand corner that I painted rather roughly. I must have been using the Brush tool. And not I'd like you go up to the layer menu and choose the Arrange command and then choose Send to Back, or we can press Ctrl+Shift+ [, Command+Shift+[ on the Mac and that'll send that layer all the way to the back of the stack directly above the background image.] So go ahead and drag it up in front of rays, like so.

If you want you can collapse the rays layer, so it takes up a little less room there inside the Layers panel. I'm going to collapse that kite layer as well. The next step because we'll be applying Smart Filters. I want you to convert this layer to a Smart Object by going up to Layers panel flyout menu and choosing Convert to Smart Object or press Ctrl+, or Command+, on the Mac if you loaded my D keys. Now let's drop out the blacks and keep that white blob by changing the Blend mode from Normal to Screen and we end up creating this bright effect here.

I've figured that wasn't quite enough. If this light was really coming directly at us and we were trying to capture this scene using a digital camera then there would be a little bit of obligatory lens flare involved. To add that lens flare, go up to the Filter menu, choose Render and then choose Lens Flare and we're going to start things off with the default settings. I'm going to change the Lens Type to 50- 300 millimeter zoom and increase that B Brightness value to 100%. Now this preview is worth beans, it's just so tiny and so difficult to follow.

What you want to do us drag that little plus sign until the effect looks like its a little bit high. We really wanted to encircle that sort of cloud thing, but you need to move it a little bit high for that to happen. So it should look more or less like this. Then click OK in order to create the effect. And it looks like I did a pretty good job. If for any reason whatsoever, you feel like you didn't absolutely nailed the effect then you just go ahead and double-click on the word Lens Flare here inside the Layers panel and you drag that guy up, for example,.

Here is the problem though, we want to drag it up maybe 1 pixel and that's not terribly easy to do of course. Go ahead and try it out to see if you can get it to move around to a better position, click OK and that is going to be good enough for our purposes because I don't want to fool around with this all day. It's going to end up looking pretty good anyway. I don't want to introduce those aberrant pinks. So I'm going to get rid of the additional Lens Flare coloring by double-clicking in the slider icons to the right of the words Lens Flare and here inside the Blending Options dialog box I'm going to change the mode from Normal to Luminosity that I'll drop out those colors and keep the natural colors from the sky.

Click OK in order to accept that modification. Now at this point I thought hey, if one Lens Flare affect looks good then two Lens Flare affects will look awesome. So I went back to the Filter menu and chose that very first command Lens Flare, or you can press Ctrl+F, Command+F on the Mac. Because we're working with the Smart Object that brings back the Lens Flare dialog box, now I want you to change the Lens Type to 105mm Prime, reduce the Brightness value to 75%, at least that's what I came up with, you can go your way. And I drag this little plus sign which indicates the center of the effect over and down to the left.

So it's down toward the bottom-left side of that bright blob and then clicked okay to create that new effect. To get rid of the coloring where this effect is concerned as well double-click on its little slider icon and once again change the mode from Normal to Luminosity and then click OK. If we zoom-out here a little bit, notice that there is a bunch of Lens Flare effects down into the left of the model's face. I don't want that. So I'm going to create a filter mask, but I want to create the filter mask from scratch because that's the easiest way to work.

So go to the existing white filter mask next to the word Smart Filters here, right-click on it and choose Delete Filter Mask. Then go ahead and grab the Elliptical Marquee tool and drag from the center of the cloud like so and as you drag, press and hold the Alt key or the Option key on the Mac, to create a big huge ellipse that cuts through the model as you see here. So it should basically just go right through the model's face. And now we're going to recreate that filter mask by right-clicking on the word Smart Filters and then choose Add Filter Mask and that will go ahead and filter away the effect on the left side of the image.

Right now, we've got a very harsh transition and that transition could end up showing up later. So why don't we soften things? By making sure that the filter mask is active. Then I'm going to collapse my Color panel here and I'll go up to the Window menu and choose the Mask command and I want you to increase the Feather value to say about 50 pixels and press the Enter key or the Return key on the Mac and that way we're applying a parametric nondestructive softening effect to this filter mask. Let's go ahead and collapse the Mask panel once again.

I'm going to go ahead and zoom-in on my image and they're just too more finishing effects that I want to apply. First of all I decided that I wanted to regain a little bit of the hair around the model's head and you can do that if you like by going to this layer that's called M1 R40. That's the multiplied version of the image and currently I've masked away all that brightness around her head. In that way that not quite white background wasn't going to darken the rest of the scene.

Now that we've added all of these rays of light, which have tremendously brightened the scene as you can see here, we can afford to go ahead and introduce a little bit of darkening by Shift+clicking on the layer mask that's associated with that M1 R40 layer. That'll turn the layer mask off and bring back some of the finer details of hair inside of that multiply layer and then finally I'll scroll to the top of the stack and turn on this text layer that I've created for you in advance. Let's go ahead and check out the final version.

I'm going to go ahead and zoom-in on the image just a little bit here, and then I'll press the F key a couple of times in order to switch to the full screen mode. And here is the final version of the composition in which we've managed to isolate and blend two of the toughest image elements there are, hair and feathers using a combination of conventional every day masking and compositing techniques, here inside Photoshop.

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

128 video lessons · 31519 viewers

Deke McClelland

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  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
    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
    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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