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Parametric luminance masking

From: Photoshop CS5 One-on-One: Mastery

Video: Parametric luminance masking

All right kids, in this exercise we're going to use those Luminance-exclusion slider bars in order to create a special effect. Basically we're going to make this lightning ball right here appear to burst out of the center of the moon. We're going to do so without much in the way of masking, just little tiny masks here and there, but mostly it's going to be blending tricks as you'll see. So I've gone ahead and restored the saved version of Lunar madness.psd. I'm going to turn on the lightning ball layer right there, and I'm going to click on it.

Parametric luminance masking

All right kids, in this exercise we're going to use those Luminance-exclusion slider bars in order to create a special effect. Basically we're going to make this lightning ball right here appear to burst out of the center of the moon. We're going to do so without much in the way of masking, just little tiny masks here and there, but mostly it's going to be blending tricks as you'll see. So I've gone ahead and restored the saved version of Lunar madness.psd. I'm going to turn on the lightning ball layer right there, and I'm going to click on it.

Now, I want to keep the light stuff and I want the dark stuff to drop away. So the most logical blend mode to use is going to be Screen because it's your when in doubt lightening mode. So I'll go ahead and choose it and we get this effect here. So already looking pretty darn good; now, I want to be able to identify those tendrils of lightning there a little more accurately. So I want to drop out the darks where this layer is concerned and I'll do so by double-clicking on the empty portion of that layer to bring up once again the Blending Options panel of that layer Style dialog box.

Because I want to drop out the darkest colors, I'm going to move this Black slider in the This layer slider bar over to the right and I'm probably going to take it pretty high. I might take it as high as let's say 235 for example. You just have to watch the values here. You can't numerically adjust the values which is kind of a drag actually. I see no reason for that but that's the way it is. Now, that results in some very jagged transitions as you can see there. So let's Alt+Drag or Option+Drag the left half of that triangle back and I'm going to take it down to let's say about 140 this time around and we'll get this effect here.

So just to give you a sense of what we've done, I'll turn off the Preview check box. So this is what the layer look like before we apply these settings. This is what the layer looks like now. So it's quite a powerful tool, allows you to examine a layer completely based on its luminance levels without any need for masking; it's altogether temporary by the way. So these are parametric adjustments. I could go ahead and click OK, and then I could double-click on the layer again to bring back up the dialog box and I could make further adjustments because my settings are preserved.

I do also want to reveal some of the moon in the background based on its luminance level. So the idea here is that I want these bits of lightning to be bursting out of the center of the moon and the center of the moon, we can't see it right now but the center area, this area that I'm tracing here is the darkest area of the moon, and then the top-left region right there is the lightest area. So I'd like to make the lightest color show through so that we're covering up the darkest colors, which will make it look like the lightning is coming out of the moon to an extent.

So I'm going to drag this White slider triangle for the Underlying layer slider over to the left and I'm going to take it way over to left for starters. I'm going to take it over to 20 as we're seeing there. The only pixels that Photoshop is allowing to be covered with sparks are those with luminance levels from 0 to 20; so very small region; some very dark pixels indeed. Anyway, let's go ahead and open things up because once again we have very harsh transitions. I'll Alt+Drag or Option+Drag the right half of this triangle over to the right side and I'm going to take it all the way back to 255 like so, so that we have this big area of drop off and the reason we need it, the reason we need this much slope is check it out.

If I start dragging this back, and this back like so, we have some pretty harsh transitions inside of those highlights and that's because the highlights in this moon image are pretty darn fragile. So in order to keep something resembling smooth transitions we need a big huge range. Now, that of course doesn't look all that great but that will be a good first step. I'll go ahead and click OK in order to accept that modification. All right! Now what I want to do is take another copy of the moon layer and put it on top of the sparks, so that we can contain some of the sparks with some darkness here because everything's turning out to be so bright at this point.

I'll select the moon layer which is the Background layer there and I'll press Ctrl+Alt+J or Command+Option+J on the Mac to jump it and I'll go ahead and call this guy upper moon and then press the Enter or Return key. I'm going to drag this guy on top of lightning ball now and it's opaque of course, it's covering up everything and we need to change that. Now, I'm not going to change the Blend mode quite yet because I don't know if I want to. I'm just going to go ahead and double-click on the empty portion of the layer to bring up the layer Style dialog box. And this time, I'm going to change the Underlying layer slider only; we're not going to change anything about This layer.

I'm just going to force through those lightest colors and they're going to automatically appear in the dark region of the moon because that's where the lightest spark colors happen to reside. Now, I don't want to reveal too many luminance levels in this case. So I'm going to take this guy down to 218 is what I ended up coming up with. Then I'm going to Alt+Drag or Option+Drag the right half all the way back to 255, so we end up with this effect here. Then I'll go ahead and click OK in order to accept the changes. Now, this I think looks pretty darn good.

You could experiment with the Blend mode after this point if you wanted to. For example, if I press Shift+Alt+O or Shift+Option+O on the Mac in order to choose the Overlay mode, I get a pretty interesting effect. This is without that layer and this is with that layer. So it does help to contain the effect a little. I could also experiment with Shift+Alt+H or Shift+Option+H on the Mac for the Hard Light mode, but what I like about Normal is that it's dark and it has a certain way to associate with it that I find to be very attractive. All right! There are some unattractive elements of this effect however such as this little slim edge right there and try as I might, I can't get rid of that using the Luminance-exclusion sliders there.

So I am going to have to apply a little bit of masking but this is going to be a kind of masking that we don't normally apply. Basically, I'm going to create a new layer and I'm going to paint some blackness onto it and the reason this is going to work is because these other layers are shown and hidden based on the luminance level of the layer behind them, and I'll show you how the effect works in the next exercise.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43724 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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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