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This time I have saved my progress as Two cyclist.psd, again found inside the 28_auto_align folder. And in this exercise we are going to add the third cyclist who happens to be called Stunt cyclist-2.jpg inside of the Layers palette right here. And we are going to do it in an easier manner than I showed you before. We are not going to try to copy it from two different Difference Masks. We are just going to do it from one and I could have done it last time too. I'm now realizing. So check it out. Bear in mind that both Stunt cyclist 1 and 2 are set to the Difference blend mode right now. So if I turn on Stunt cyclist-2, I have got this grayed area in back of him. From this point over, that I can use to mask him away. But over here we have this terrible interaction between the two wheels. I need to get rid of this guy. Get him out of the picture. But watch. All I need to do is turn off Stunt cyclist-3 for a moment and he is completely distinguished from the rest of the scene, which is great. Because he is just interacting with Stunt cyclist-4 over here and that guy is far enough away that we have a big gap in between them.
Now the reason I said I could have done that before is because the guys who interact properly there are Stunt cyclist-3 and I'll go ahead turn off 2 and Stunt cyclist-1. So if we hadn't masked this yet, I'll go ahead and Shift-click on the Mask there. So I turn it off. You can see he is completely removed from rest of the scene. So I didn't have to do what I did before. But it's a good exercise you might have to on one of your compositions. Anyway, I'm going to go ahead turn that layer mask back on by Shift- clicking on it's thumbnail. And I'll turn this guy off and I'll turn this guy off for a moment and turn this guy on.
So we have Stunt cyclist-2 and 4 on at this point. Go to the Channels palette. Click on the Blue channel once again. Let's go ahead and select it with Rectangular Marquee tool because he is so far away from everything else. And I'm keeping tight to the wheel, maybe tighter that I need to, but I just wanted to avoid this garbage over here. Nudge it over just a little bit. I am going to go up to the Edit menu and choose Copy Merged. Ctrl+Shift+C or Command+Shift+C on Mac. Make a new channel by Alt-clicking or Option-clicking on that little Page icon. And we'll call this guy right, because he is the person on the right side of the image and then click OK. And then press Ctrl+V, Command+V on the Mac to paste him in the place. Press Ctrl+L, Command+L on the Mac.
And let's go ahead use the same values 10, try and see how they work. And 50. Didn't change the gamma value. And that looks swell. Click OK in order to accept that modification folks. And let's see how this channels works. So you have to Ctrl-click on it or Command- click on that alpha channel in order to load it as the selection outline. Go back to RGB, go to the Layers palette. Turn this layer back on because we want Stunt cyclist-3 in mix. Switch to Stunt cyclist-2m press Shift+ Alt+N or Shift+Option+N on the Mac to switch him back to the Normal mode and then go down to the layer mask icon and turn it on. And we now have a masked version of this dude. Now that's pretty awesome.
And at this point I would go ahead and grab my Brush tool of course. And I have White selected. It's the foreground color. I'll make my brush bigger. And I'll just paint in some stuff over here. Because of auto-align we are protected, right? Go ahead and move over and make sure I'm painting all the way so that I don't have half a building sitting over there. And then I'll paint him into place. This is so easy. Thanks to auto- align. It's really, really great. Just don't get in this area. I'm not painting here. I'm just indicating in area in which you should not paint. I can't paint over there something like that.
But the finished effect appears right here before you on screen. So this wonderful merging of the three photographs creating the sense of motion inside of this image, thanks to a combination of Auto-Align and Difference masking inside Photoshop CS4.
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