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Photoshop CS6 One-on-One: Advanced

Painting directly inside an alpha channel


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Photoshop CS6 One-on-One: Advanced

with Deke McClelland

Video: Painting directly inside an alpha channel

In this movie, I'll show you how to hand-paint the mask to create the final selection. And you know what? Rather than switching back and forth between the selection outline and the Quick Mask mode, we might as well edit our last channel directly. So I'm going to go a head and click on Levels enhancement, which is the most recent version of this selection, and there's some obvious stuff that I can paint away here. I'll go ahead and press the B key to switch to the Brush tool, and I'll press the D key in order to establish my default colors; that is, white as the foreground color, and black as the background color.
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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

Painting directly inside an alpha channel

In this movie, I'll show you how to hand-paint the mask to create the final selection. And you know what? Rather than switching back and forth between the selection outline and the Quick Mask mode, we might as well edit our last channel directly. So I'm going to go a head and click on Levels enhancement, which is the most recent version of this selection, and there's some obvious stuff that I can paint away here. I'll go ahead and press the B key to switch to the Brush tool, and I'll press the D key in order to establish my default colors; that is, white as the foreground color, and black as the background color.

And I'm still working with that hard-edged brush. I'll go and press right bracket key a couple times to make it bigger, and then I'll paint away this line, and I'll click here in order to get rid of some of this stuff. You're often better of clicking, instead of paintin,g by the way, because if you start painting along an edge, it's very possible you'll do this number, and ruin the edge. Anyway, I'll press Control+Z, or Command+Z on a Mac, and paint over here in some of these regions that are more obvious from this far away. And then I'm going to zoom in on this region around the eye, and I'm going to reduce the size of my brush by pressing left bracket key, and click along the bottom of the eye, like so, then paint away some of the other garbage that I see around and about.

And I want to click along these details, paint right up to here, click, and then click on this junk. All right, let's go ahead and zoom out a little bit. Here's the detail that I can paint away. Obviously this edge along the bottom of the nose needs to get lost, so I'll start by clicking there, and then I'll click here, and Shift+Click along this bad edge, and you just want to make sure that you keep your brush away from the good edge. And the Shift+Clicking, by the way, of course, establishes a straight line between the click and Shift+Click points. All right, I'll go ahead and paint that garbage, paint away this is well, and I'm just going to have to kind of sail along here.

I'm just tossing the image with the Hand tool. This looks like it needs to leave, so I'll Shift+Click around here, taking care to stay away from the edge when I'm doing the Shift+Clicking. And maybe click right at that location, click here, Shift+Click here maybe; this is a little dangerous what I am doing, but it'll probably work out okay. And when in doubt, just click next to an edge. And we will clean up some of these other edges in just a moment, when we view both the image and the mask at the same time. I'm going to press the X key to switch my foreground color to black, and click right at that location, reduce the size of my brush, and click here, because we've got some stray pixels outside of what should be the deselected region of the image.

I'll increase the size of my brush; press the X key to switch the foreground color back to white, and paint that stuff away. And then I'll go ahead and continue down the dinosaurs' back, paint this stuff away, this needs to go; this stuff needs to go as well. So it's a lot of hand editing. There's other techniques that are available to you, but for this specific image, giving the mask some meticulous attention is the best way to go. I'll press the X key to switch to my foreground color to black, and paint that out of there, press X again to switch to foreground color to white.

You get the idea, but it must be done, so I am going to continue here. We've got some bad stuff out here in the background, so I'll reduce my brush size, press the X key to switch back to black, click these guys out of the way, press the X key to switch to white, paint that guy out of the way as well. Looks like we have some garbage that needs to be cleaned up right along this edge, and at this point we're all the way down in the bottom right corner of the image looking at the dinosaur's spine. I'll a press X key, and click these details away, and then click inside of this region as well.

All right, so looks like we're doing a pretty good job, but I need to now display the image to see if the edges are where they are supposed to be. So I'll press the Tilde key in order to bring back those edges. You don't need to worry about these little details; notice there is going to be some color fringing at some point, but we will take care of those problems using a couple of automated techniques when we modify the layer mask. However, this area is the problem we need to deal with right now. So I'll increase the size of my brush, my foreground color is black, which means I'm painting in transparency in this Quick Mask display here.

So even though we're not in a Quick Mask mode, Photoshop calls this the Quick Mask display. All right, so I've now made my way to the top of the dinosaur's head. I'll paint away this stuff right there, and I need to paint away some of this garbage at the top of the brow. And so I'll just click, and maybe occasionally Shift+Click as well, in order to add some straight lines. I'm just trying to do the best job I can in the least amount of time. It does get to be a little painful, but you know, put on some music, listen to the radio; whatever.

It's Zen, don't you know? All right, so I'll go ahead and paint this stuff. I think I painted too far out there, so I will press X key and paint that back in. And then let's just make our way down to the animal's snout. We do have some edge fringing once again, but we'll take care of that later. This is actually looking pretty darn good, so I'll press Control+0, or Command+0 on a Mac, to zoom all the way out, so I can take in my entire image, and then I'll press the Tilde key in order to view the mask on its own. All right, so we're done painting. I'll press M key to switch back to the Rectangle Marquee tool, just to make sure that I don't accidentally paint inside the image.

And this is no longer the Levels enhancement; this is now the final mask. So I'll double-click on the name of this channel, and change it to final mask, like so, and then I'll switch to the RGB image. And that, friends, is how you modify an alpha channel directly, while taking advantage of the Quick Mask display. In the next movie, we'll select the dinosaur, and add it to the layered composition.

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