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Photoshop Masking and Compositing: Fundamentals
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Pasting an image inside a selection


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Photoshop Masking and Compositing: Fundamentals

with Deke McClelland

Video: Pasting an image inside a selection

In this exercise, we're going to paste the guy's head into the selected egg, and then we're going to distort his head, once again using a combination of Free Transform and that Warp mode just as we did the selection outline. I've saved off a version of this image called Egg masks.psd found inside the 05_combine folder, and the reason is if you go over to the Channels panel, you'll see that I went ahead and saved my current selection outline as the new egg and my previous one as the old egg, because what I found is they both have slight problems, and they both cut ever so slightly into the edge of the egg, and I don't want that.
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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
      52s
    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
      55s
    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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Photoshop Masking and Compositing: Fundamentals
11h 35m Intermediate Nov 04, 2011

Viewers: in countries Watching now:

Photoshop Masking and Compositing: Fundamentals is the introductory installment of Deke McClelland's four-part series on making photorealistic compositions in Photoshop. The course shows how to make selections, refine the selections with masks, and then combine them in new ways, using layer effects, blend modes, and other techniques to create a single seamless piece of artwork. Deke introduces the Channels panel and the alpha channel, the key to masking and transparency in Photoshop; reviews the selection tools, including the Color Range tool , Quick Mask mode, and the Refine Edge command; and shows how to blend masked images so they interact naturally.

Topics include:
  • Setting up a workspace
  • Working with the seven key selection tools
  • Using the Color Range command
  • Automating masking
  • Matching a scene with Smart Filters
  • Choosing the ideal base channel
  • Converting a channel to a mask
  • Painting with the Overlay and Soft Light modes
  • Using History to regain a lost mask
  • Working with the Calculations command
  • Extracting a mask from a Smart Object
  • Masking and compositing light
  • Masking with black and white
  • Working with path outlines
  • Combining pixel and vector masks
  • Creating and feathering a vector mask
Subjects:
Design Masking + Compositing
Software:
Photoshop
Author:
Deke McClelland

Pasting an image inside a selection

In this exercise, we're going to paste the guy's head into the selected egg, and then we're going to distort his head, once again using a combination of Free Transform and that Warp mode just as we did the selection outline. I've saved off a version of this image called Egg masks.psd found inside the 05_combine folder, and the reason is if you go over to the Channels panel, you'll see that I went ahead and saved my current selection outline as the new egg and my previous one as the old egg, because what I found is they both have slight problems, and they both cut ever so slightly into the edge of the egg, and I don't want that.

So what I am going to do? And you may want to do this as well if you want to get exactly the same result, is I went ahead and Ctrl+Clicked or Command+Clicked on the channel called the new egg in order to load it up as the selection outline, and then I added the old egg by Ctrl+Shift+Clicking on it, or Command+Shift+Clicking on the Mac. All right. Now, let's switch back to the Layers panel. You can see that the Background layer is active. I want you to open up that Crazy man.jpg file and we need to copy this guy to the clipboard. But, if you go to the Edit menu, you'll notice that the Copy command is dimmed, and the reason is Photoshop requires a selection to copy.

So go to the Select menu and choose the All Command or just press Ctrl+A or Command+A on the Mac, and then go to the Edit menu and choose Copy or just press Ctrl+C or Command+C on the Mac and that puts a copy of the guy in the clipboard. Then, go ahead and switch to your egg image whatever it maybe, and go up to the Edit menu, choose Paste Special, and then choose the Paste Into command, or you've got that big keyboard shortcut, mash your fist V, so Ctrl+Shift+Alt+V or Command+Shift+Option+V on the Mac and that goes ahead and paste the guy into the egg selection.

What it really does is paste the guy in a new layer and convert the selection outline to a layer Mask. Let's go ahead and rename this layer man, and notice, by the way, that he and his mask are not linked to each other, so they move independently. So in other words, I could go ahead and Ctrl+Drag, or Command+Drag him to move him inside of the egg. Now, the next steps that we have to perform are Free Transform, and then we're also going to apply the Spherize Filter. We're going to get the best results and we're going to have the most flexibility if we go ahead and convert this guy to a Smart Object, because that way we'll apply a nondestructive transformation and we can edit the Filter Settings later if we need to.

However, we don't want to convert him to a Smart Object with his layer Mask intact. That would be a big mistake because then the two would no longer be unlinked from each other. So what we need to do and this is a little bit of busy work, but it's good busy work, Ctrl+Click or Command+Click on that layer Mask to return it to a Selection Outline, and then right-click on the layer Mask and choose Delete layer Mask in order to get rid of it, and that will restore the unmasked guy as you see here. Now, I want you to go to the Layers panel flyout menu, click on it, and then choose Convert to Smart Object or if you've loaded dekeKeys you can press Ctrl+Comma, Command+Comma on the Mac.

Now we need to reassign his layer Mask by dropping down to that Add layer Mask icon at the bottom of the Layers panel and clicking on it, and you end up getting a masked Smart Object rather than putting the mask inside the Smart Object. Now, the thing is we do not want the Smart Object and layer Mask to be linked to each other, so turn off the Chain icon and then click on the Smart Object thumbnail, that is, his face in order to select him. Now that is out of the way, let's go ahead and distort this guy by going up to the Edit menu and choosing Free Transform, or you can press Ctrl+T or Command+T key on the Mac and I am going to start things off by linking the Width and Height value, so I apply a proportional scaling, and I am going to take the Scale value down to 60%.

Now, that's kind of seem way too low, but it's going to compensate for the next effect we apply. Go over here to the Warp icon on the right side of the options bar and click on it, and next, you can't start dragging around if you want to. You can drag up on that top edge if you want to, you can drag on the sides, you can even drag inside the image like so in order to stretch it apart, or you can apply one of the predefined Warp Settings. I am going to go ahead and click on this down-pointing arrowhead and choose Inflate which will inflate his face outward, and I am going to take that Bend value up to 80%, like so.

Now, that's a good starting place. That's not where I want to end, I want to customize this effect. Notice if you start dragging the one and only handle inside the Image Window, then you will change the Bend value as you see happening in the options bar up there at the top of the screen. All right. I am going to reinstate a Bend value of 80. If you want to customize the effect, then you go ahead and switch from Inflate back to Custom, and Photoshop will keep the effect, but it will give you back your handles. Now, I'm going to drag down on the top of his head like so and I am going to drag down until this top inner line here, this top horizontal line is almost straight, and that looks pretty good to me. All right.

Now, I will go ahead and press the Enter key or the Return key on the Mac in order to accept that effect. Now, the problem is that he looks less distorted than shrunken. So if I press Ctrl+Z or Command+Z on a Mac, there he is big, and then if I press Ctrl+Z or Command+Z again, there he is smaller. I want him to look more spherized than that, so I will go ahead and apply the Spherize Filter by going up to the Filter menu, choosing Distort, and then choosing the Spherize command. Now, you're not going to get a sense for this in dialog box preview when you're this far zoomed in.

So go ahead and click the minus button a couple of times to zoom out and then move him over a little bit. The default value is 100 which is over the top especially for this subtle composition that we're trying to create here. So I am going to reduce the Amount value to 50%, and then click OK, and that does a pretty good job of getting him in the right position. I will Ctrl+Drag or Command+Drag him over just a little bit, like so. The thing is he is sort of slightly leaning to the left. Now, because I converted this guy to a Smart Object, that's no problem. I can apply a second transformation, a third, I can transform this guy as many times as I want without permanently damaging the pixels.

So what I am going to do is go back to the Edit menu and choose the Free Transform command or press Ctrl+T, Command+T on the Mac. You may get an Alert message from Photoshop telling you that you're not going to be able to see the filters as you apply the Transform Effect. That's actually a big drag, but that's the way it is. So click OK. All of a sudden he is not spherized anymore. Now, press the Ctrl and Shift keys or the Command and Shift keys on the Mac and drag this top handle a little bit over to the right as you see me doing here, about this far should serve us well, and then press the Enter key or the Return key on the Mac to not only slant the guy, but also reapply that Spherize Filter.

I'm going to once again Ctrl+Drag this guy over, that would be a Command+Drag on the Mac until he's more or less centered inside the egg, like so. And just one more modification, I'm going to nudge him down, and I am going to do so by pressing Ctrl+Shift+Down Arrow or Command+Shift+Down Arrow on the Mac. The fact that I have the Ctrl or Command key down allows me to move the layer, the fact that I have the Shift key down moves the layer in 10 pixel increments. All right. The final thing to do is to clean up the Layers panel by right-clicking on this empty Filter Mask and choosing the Delete Filter Mask command because we don't need it.

All right, he's looking pretty good to me. In the next exercise, we're going to blend and shade this guy, so he looks like he's actually trapped inside an egg.

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