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Photoshop Masking and Compositing: Fundamentals
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Recreating missing details


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Photoshop Masking and Compositing: Fundamentals

with Deke McClelland

Video: Recreating missing details

In this exercise, we are going to take care of this guy's shiny forehead and it's actually much worse than shiny, by the way,. If you zoom in on it you can see that we've got this blown highlight right here in the top corner, but it's surrounded by all these low saturation posterized pixels and it's just not acceptable. So we have a little bit of work ahead of us. But this will give you a sense for how to reconstruct details inside of your photographic images, in case things go wrong. All right, I am going to go ahead and zoom back out. We want to start with a good forehead and the good forehead in this image belongs to the woman over here in the left-hand side.
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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

Recreating missing details

In this exercise, we are going to take care of this guy's shiny forehead and it's actually much worse than shiny, by the way,. If you zoom in on it you can see that we've got this blown highlight right here in the top corner, but it's surrounded by all these low saturation posterized pixels and it's just not acceptable. So we have a little bit of work ahead of us. But this will give you a sense for how to reconstruct details inside of your photographic images, in case things go wrong. All right, I am going to go ahead and zoom back out. We want to start with a good forehead and the good forehead in this image belongs to the woman over here in the left-hand side.

So go ahead and draw a generous selection around that forehead, using the rectangle marquee tool, we will be masking it in the place, so you don't need a terribly accurate selection to start with. Then make sure the couple layer is selected at the bottom of the stack and press Ctrl+Alt+J or Command+Option+J on the Mac in order to jump that selection and name it as well, I am going to call the layer Texture and click OK. Now let's move the copy of our forehead, more or less on to his and I did that by Ctrl+Dragging or Command+ Dragging here inside the image window.

And we want to use her forehead to darken his. So we are going to change the Blend mode from Normal to Multiply, like so. Alright, next what I want you to do is rotate and position the image in place. So go up to the Edit menu and choose the Free Transform command and I found that a Rotation value of 19 degrees ended up working the best. Now I will go ahead and drag the forehead to about this location here, you want to match the arc of her forehead to the arc of his.

And then press the Enter key or the Return key on the Mac in order to accept that transformation. Now let's go ahead and zoom in a little bit and we want to paint her forehead over his and we are going to do that using a layer Mask. So drop down to the Add layer Mask icon at the bottom of the Layers panel. Now we don't want very much of her forehead. So most of the layer Mask needs to be black and you can create a black layer mask by pressing the Alt key or the Option key on the Mac and clicking on that Add layer Mask icon. So that temporarily hides her forehead.

Now go ahead and grab the Brush tool and right-click inside the image window. Notice I've got the Hardness value set to 0%, the Size is maybe a little big, at 250 pixels, I will take it down a 200 pixels, like so. And we are going to want to paint with white, so make sure that white is your foreground color, as it is in my case, if it isn't for you just press the D key for the default mask colors. And then paint that forehead into place like so, that's probably a little too much forehead. So I will press X key in order to make black the foreground color, reduce the size of my cursor and paint it back just a little bit, actually I need more than that so I will press X key again and paint some more forehead in the place.

Don't worry about the fact that you're covering up some of his hair or that you're leaking outside the forehead, that's just fine because we are going to keep this effect in the forehead using a vector mask. So let's go ahead and add a vector mask by dropping down to that Add layer Mask icon, but notice now it's called Add vector mask. You don't have to Ctrl+Click on it this time, because the only kind of mask you can add at this point, you can't have two pixel-based layer masks. So the second mask has to be a vector mask. So just go ahead and click on it to add that vector mask, and then you want to select the Ellipse tool, here inside the toolbox.

And make sure that the second icon in is selected Paths and that'll automatically add this path outline to the existing vector mask. And begin drawing a big huge ellipse like so and align it into place using the spacebar and about right there, looks like it's going to work pretty good for me even though I keep invoking a slight auto scroll here which I don't want. Well let's go ahead and drop the mask at that location. Now looks like I clipped away some of his head, so I will grab my Black arrow tool, click on the path outline and let's lift it up into place a little bit, I might nudge it as well, you can nudge these things from the keyboard as much as you want, and I am doing that by pressing the arrow keys on the keyboard.

All right now bring up the Masks panel and I want to add just a little bit of softness to this path outline. So I am going to take the Feather value up to one pixel, like so. Looking good, even though that's hard to believe at this point, but it is looking away I want it to. Now I am going to go ahead and hide the Mask panel and I'll hide the Vector mask as well, because I don't need to see it and I'll do that by clicking on that Vector mask thumbnail. Okay the next stepped, by-the-by is to get his hair out of the picture. So to force through the darkest details from the underlying layer and we will do that using Blending options.

Right now, there is not an empty portion of the layer to double-click on, so right-click inside the image window and choose the Blending Options command, if we have loaded D keys, I have given you a keyboard shortcut of Ctrl+Shift+O or Command+Shift+O on the Mac, O being for options. Now, go down to the underlying layer slider, and drag that black slider triangle, up to 50 and that's going to force through some of the darkest hair and then press the Alt key or the Option key on the Mac and drag the right half of that black slider triangle all the way up to 200, like so.

And that's going to create a soft transition around that hairline. All right, now obviously we've got a problem. First of all her skin is darker than his. Secondly, we are multiplying her skin in the place, so it's getting even darker still. So what we need to do is modify the color of this patch and we are going to do that by adding a color overlay effect. So click on Color Overlay here on the left-hand list. And then go ahead and click on the Color Swatch. Now there's a very good chance that the layer mask is selected.

I will click here in the image window and sure enough I'm lifting black, so that's not doing me any good. However, had I prepared in advance and made sure that the layer mask was not selected I would be able lift a color and I already found the color that's going to work for us. We want the Hue value to be 35 degrees which is a shade of orange, and then I'm going to take a Saturation value up to 25% and we will raise the Brightness value to 80%, like so. Then click OK. Now that applies a flat swath of color, just as if we'd taken a paint brush and slapped it on his head there, that's not what we want.

So to get some interaction, let's change a Blend mode from Normal to Screen and that'll go ahead and screen that color in the place, that's too bright so take the Opacity value down to 66% and click OK. Now that's a pretty good patch, but it's not an exact match by any means as you can see. And I figured out, that has to do with this skin tones layer right there, if you click on the skin tones layer and then Alt+Click or Option+Click on his layer mask, notice that the forehead was kind of removed from the equation.

And as a result it's not getting the attention of this Adjustment layer. So in order to paint that forehead back in the place, we are going to mask our modifications, by Ctrl+Clicking or Command+Clicking on that vector mask for that Texture layer and that will load that vector mask as a pixel-based selection outline. So there is a lot of versatility built into the things here inside Photoshop. And now I will grab my Brush tool and I will make sure that my foreground color is white, which it is, and then I will just go ahead and paint that forehead back in a place, like so.

Once you've done that don't worry about the softness, when we're working inside layer Mask you have a lot more flexibility than you do when you are trying to build Alpha channels. Press Ctrl+D or Command+D on a Mac to deselect the image. And then Alt+Click or Option+Click once again on that layer mask in order to return to the full color RGB image and you can see that now we have got a pretty darn good match. We have a little bit of hue wandering, this portion of his forehead is a little bit red, but this portion of his forehead is naturally a little bit yellow.

So I wreck in the actual color of this neighborhood at the top of his forehead, we would run a little bit yellowish, anyway you could play with that Color Overlay effect to apply different colors if you want, but I am pretty happy with what I've got. So I will press Ctrl+0 or Command+0 on the Mac to zoom out. And let's get a sense of what we have been able to accomplish throughout this entire project, if I Alt+Click or Option+Click on the eyeball in front of the couple layer, this is more or less the original image with the exception of the fact that we have a couple smart filters applied.

And if I Alt+Click or Option+Click on that eyeball again, this is the refurbished version of the image. Thanks to the power of layer Masks and Vector Masks as wells as small dash of the Density and Feather values inside the Masks panel, here inside Photoshop.

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