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Photoshop CS5 One-on-One: Mastery
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Introducing masking


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Photoshop CS5 One-on-One: Mastery

with Deke McClelland

Video: Introducing masking

All right gang! Over the course of this project we are going to take this woman with her swinging hair and we are going to composite her against a totally different background and we are going to do so using masking. Now, masking is ultimately the art of using the image to select itself. So, you're taking the luminance levels and transitions that are inherent in the image across one or more channels and you're exaggerating those differences in order to create the final mask. So, for example where this image is concerned, and I'm working inside of Hair in flight.tif, found inside the 26_masking folder.
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  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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Photoshop CS5 One-on-One: Mastery
20h 1m Advanced Sep 30, 2010

Viewers: in countries Watching now:

In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.

Topics include:
  • Using masks and blend modes in radically new ways
  • Mastering the Pen tool and Paths panel
  • Transforming and maximizing Smart Objects
  • Employing Smart Filters to create complex effects
  • Exploring the capabilities of Bristle brushes and the Mixer Brush
  • Merging multiple images into seamless panoramas
  • Exploring the full range of luminance with HDR Pro
  • Recording actions and batching-processing images
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Introducing masking

All right gang! Over the course of this project we are going to take this woman with her swinging hair and we are going to composite her against a totally different background and we are going to do so using masking. Now, masking is ultimately the art of using the image to select itself. So, you're taking the luminance levels and transitions that are inherent in the image across one or more channels and you're exaggerating those differences in order to create the final mask. So, for example where this image is concerned, and I'm working inside of Hair in flight.tif, found inside the 26_masking folder.

It comes to us from photographer Stas Perov of the Fotolia Image Library. If I go to the Channels panel, which I invite you to do as well, you'll notice in addition to the color bearing channels Red, Green, and Blue, I also have a couple of Alpha channels, non- color bearing channels inside of this image. One is called basic mask and the other is called tougher mask. Now, basic mask takes about 15 minutes to put together, tougher mask takes about a half an hour. We are going to go for tougher mask and it's going to take us more than a half an hour of course, because we're going to be discussing each and every step as we go along.

However, the reason we are going for tougher mask is because, A) this is the Mastery portion of the series, so we ought to do the absolute best work we can I figure, and it will give you a sense for the myriad approaches to masking inside of Photoshop. But, bear in mind ultimately at the end of the day we want her to be white because that indicates the area that will be selected or opaque or what have you. Then, we want her background to be black because black indicates deselection. It also indicates transparency where we would express this Alpha channel as a layer mask.

Now, I am going to switch back to the RGB composite image for a moment so that we can check out what we have to work with in the first place. What we're looking for is contrast, we want as much contrast as possible. You might figure well we've got that, right. We have these very dark hairs against a lightish background. Well, that's part of the problem. It's lightish. It's not light. In fact, it's a gradient. So, we have some areas that when you look at them they stand out as being bright but they're not all that bright.

It's pretty dark gray back there and it gets awfully dark gray in some other areas. Meanwhile, her hair kind of varies all over the place in terms of its darkness. It's very dark in some locations and quite light when it gets out of focus, when it's in movement, when we only have a few strands of hair to work with. Also, note that there are no color differences going on inside the hair. We're seeing uniformly low saturation color values going on. So, these blue gray hairs fading into a blue gray background, so we can't exploit the differences between the channels very well.

We can exploit the differences between the channels where the flash is concerned because she's fairly warm, not super warm, but fairly warm against this cool background. However, she is also alternately light and dark and in focus and out of focus. So, the top of the left arm is lighter than its background. The bottom of that left arm is darker. This portion of the arm right there is pretty similar actually to the background as we'll see, because we have to evaluate this image on a channel-by-channel basis.

The right-hand arm is out of focus so we have some blurry details to work with there. Then, there is the dress which is thoughtfully exactly the same color as the background. So, that's quite a problem. Now, you might once again, look at this image and say well the good news is it's a plain background. The photographer at least was thoughtful enough not to shoot the image against a bunch of wicker or something along those lines, you know scaffolding or ladders or anything that would be a jumble of detail. And that would make our job that much tougher. That's for sure.

Just know, that the techniques I am about to share with you work with those kinds of images as well. It just gets mind-numbingly boring is basically what it comes down to create those kinds of masks, it's an awful lot of work. Anyway, let me give you a sense of two different final results here. I'll go ahead and switch to Basic mask.psd, also found inside the 26_masking folder. Notice that it's a decent composition. I don't necessarily believe she was actually photographed against this sky. However, that's okay.

It's all right if we have an unreal composition. What's not okay is if it's not professionally executed and this one is. Now, we do have some halos going around some of the finer hair details. That's actually pretty natural, by the way, if you take a look at a few hair shot you'll see those kinds of halos around the hairs. So, that doesn't bother me. What bothers me a little bit is that I had to throw a lot of hair detail away. So, we are losing some hairs over on the left-hand side and her hair is thinner over on the right-hand side than it was inside the original composition, which is why we are going to go for a different effect.

We are going to go for an effect like the one in the Elaborate composition.psd file, again found inside the 26_masking folder. This time we have a lot more hairs over here in the left-hand inside and a lot thicker hair coverage over on the right-hand side. So, I'll show you those two images again. This is the more basic version of the mask and it's a more basic composition as well. It doesn't contain that many layers. This is the more elaborate version of the image. It takes longer to create the mask in the first place and if you switch over to the Layers panel you'll see that we have a lot of layers going on as well.

What I am going to tell you is you can go either way. So, you could decide, gosh! You know you don't have enough time to pull off this kind of elaborate composition right here. So, you are going to stick with this one because it's good enough, the basic mask effect. And it's only going to take you once you come to terms with things, this is like a 15-minute mask. If you want to see it documented, by the way, I document the creation of this very mask inside of another series and it's just three movies, so it's a quickie if you want to check it out. Photoshop Top 40 is the name of the course and it's a countdown, so the various features appear in opposite order.

So, we've got 33, Calculations first, then 32, The Pen tool, then 31, The Brush tool. You watch those three sequential exercises and you'll see exactly how I created this effect. However, in this chapter we are going to for the more elaborate composition and for a couple of reasons - first of all, this is the Mastery portion of the series so it seems incumbent upon us to do the best job possible. Also though, I'm going to pass along a few additional techniques which you might find useful. Some stuff I developed specifically for this project, in fact. So, we'll get into it and we'll see how Alpha Channels work beginning in the next exercise.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Mastery.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
 
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