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Softening a displacement map

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Softening a displacement map

All right, so a brief recap, we went ahead and applied this stone to this guys face using the Overlay Blend mode along with a few other settings. And then we created a displacement map in the form of the fellows Blue Channel and we attempted to use that displacement map in order to wrap the stone around the contours of his flesh, but it didn't really work out right. So we are going to make some modifications, in this exercise we are going to make some modifications to that displacement map in order to make it work better for our purposes. So here is the displacement map, now here is the thing, you created this displacement map, its called JCE -- if you named it the same thing, I named it in the previous exercise, it's called JCE Blue.psd and it's found inside the 18 Displace Maps folder. But you will have had to perform that exercise for this image to exist. It's a gray scale image if you followed along with me properly and now we are going to change it.

Softening a displacement map

All right, so a brief recap, we went ahead and applied this stone to this guys face using the Overlay Blend mode along with a few other settings. And then we created a displacement map in the form of the fellows Blue Channel and we attempted to use that displacement map in order to wrap the stone around the contours of his flesh, but it didn't really work out right. So we are going to make some modifications, in this exercise we are going to make some modifications to that displacement map in order to make it work better for our purposes. So here is the displacement map, now here is the thing, you created this displacement map, its called JCE -- if you named it the same thing, I named it in the previous exercise, it's called JCE Blue.psd and it's found inside the 18 Displace Maps folder. But you will have had to perform that exercise for this image to exist. It's a gray scale image if you followed along with me properly and now we are going to change it.

And here is the deal, what we need to do is soften the transitions inside of this image so that we don't have these super harsh transitions between highlights and shadows, that's what's causing the pixel ripping to occur when we employ this image as a displacement map. So sharp edge gray scale image is while they look great, don't work well for displacement maps. Soft, gummy, gooey images that look terrible work great as displacement maps. So let's go ahead and gum this image up.

I want you to go up to the Filter menu and I want you to choose Noise, then choose Median and I am looking for an average radius value of 8 pixels, then click OK. Now again that's not a magic number, just happens to work well for this image when you are building your own displacement maps, you will want to experiment to see what works best for you. But I went with 8 pixels, now I am going to follow it up by going up to the Filter menu, choosing Blur, choosing Gaussian Blur as I want to do, its very common way to work. Go to Gaussian Blur and let's take that radius value up to twice the previous radius value, just to make sure that we are wiping out any extra new edges inside of this image. So I will take the radius value up to 16 pixels, twice eight and I will click OK. And even though it doesn't look as good, right, it's a better displacement map just take my word for it.

Now let's go up to the File menu and just go ahead and save, just go ahead and update the file by choosing the Save command. If you want to do a Save As, you can, just remember the new name for your file if you are going to go that route. I am just going to save over the original because it's just the Blue Channel that's already inherent in the guy, we can get it any time we want. Don't want to be cavalier but I mean you know, we can its just sitting there ripe for the picking. All right, let's return to the RGB composition that we have been working on here, it's still called, Your mother was right.psd. We really haven't done anything to this image except for turn off the chain link between the Stone and the Layer mask. So make sure that chain is missing, if it isn't, if its there, if you can see it click on it to make it go away. And then click on the stone thumbnail right there to make it active.

Now let's go up to the Filter menu, choose Distort and choose Displace and these values still hold true. So Horizontal Scale -12, Vertical Scale 12, click OK. Then what I want you to do is click on JCE Blue.psd that's found inside the 18_Displace Maps folder. If that's where you put it, I hate to overemphasize these things, but dude I must. And then I will click the Open button in order to apply that change and check it out. Lets go ahead and zoom in, this is before, this is after and you can see how it's doing just this great job of wrapping the stone around his face and we don't have those ripped pixels on his lip any more.

So that's been largely taking care of. It's a little soft in this region but it looks pretty darn good. So again this is before, this is after, things looks really nice over his cheek region and into his jaw. So it really looks like we are going up and around like this on the cheek and then down and around in the concave area of his jaw. So, again, before, flat; after, nice rounded contours. The only change I would make is in the nose region, I just don't buy the front area here of his nose and I feel like it should be this soft and there is a little ripping still going on there.

So I am going to go ahead and grab the History brush and then I am going to bring up the History palette which I could do by choosing the History command from the Window menu of course. And I am going to go ahead and source the step just before Displace as my History Brush source right there so that I am painting back to before the Displace filter. Then I am going to go with a very big soft brush. So I want to make sure my brush is as soft as humanly possible here and maybe a little smaller than that, so about 125 that should work out really well and then just kind of paint over the nose.

And also the Displace function kind of blue the bridge of his nose out a little bit, so that it looks like his nose is kind of slightly broken. So I will just paint that back in like so, I like it better the way it was before and I could paint this side of the nose as well. And does that look better? Lets see, before, after, before, after, yeah I like that. All right, anyway, paint to your hearts content, do want you think you need to do. Now there is one other thing that I want to do, I feel like this stone is too colorful, its need to be a little more stony and I think if we made it little bit more beige, it would be more stony.

So I am going to lift a color from this stone pattern here, I am going to go ahead and restore the Blend mode to normal by switching back to the Rectangular Marquee tool which I have done and press Shift+Alt+N or Shift+Option+N on the Mac. And then I am going to get my Eyedropper and the reason I have to shift back to normal is because the Eyedropper tool is always seeing the composite color. So I grab the Eyedropper tool and I could get it by pressing the I key of course, I will go ahead and click in this region right here which is a nice stony color. And then I am going to switch back to the rectangular marquee, press Shift+Alt+O again or Shift+Option+O on the Mac in order to restore the Overlay mode.

You can also do an undo if you want to because the Eyedropper function changing a foreground or background color is not an undoable operation. So the last thing you really did, the last undoable operation was changing the Blend mode so Ctrl+Z or Command+Z would work as well; just mentioning that so you know your alternatives. All right, I am going to Alt+click or Option+click on this black-white icon and I am going to choose Solid color and I am just going to call this Color, I don't want to call it Stone because we already have a Stone layer and I don't want to call it stone color because that's obvious. Anyway so I am just calling it Color and I am going to click OK in order to create a layer filled with that stone color. So it's going to go ahead and lift the foreground color as the color for this new dynamic fill layer. Then I will click OK and it appears on top of the stone image which is just fine actually.

All right, so now I am going to take this Color layer and I am going to move it under the Stone layer actually. So it looks like this and I am going to go ahead and Alt+drag or Option+drag the layer mask thumbnail onto this color layer so that we are keeping the color inside of the flesh region right there. And then I am going to change the Blend mode for this layer to the Color Blend mode by pressing Shift+Alt+C or Shift+ Option+C on the Mac and I am going to press the 8 key to reduce the Opacity value to 80%. We end up with this effect right here, this is without that Color Layer, this is with the Color Layer, definitely a more stony effect if we add this color layer to the mix. I am going to go ahead and Tab away my palettes and press the F key a couple of times and then I will zoom in on the image and this is the final version of the composition with his flesh turned to stone, thanks to a combination of blend modes and displacement maps and of course filtering the displacement map with a Median and Gaussian Blur filters. Very important, in order to demonstrate to children across the world, listen to your mommies kids, mommies are right.

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This video is part of

Image for Photoshop CS3 Channels & Masks: Advanced Techniques
Photoshop CS3 Channels & Masks: Advanced Techniques

190 video lessons · 26336 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2h 13m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 10s
    4. Luminance blending
      8m 40s
    5. Forcing the visibility of underlying layers
      4m 4s
    6. Adjusting the appearance of clipped layers
      4m 34s
    7. Selecting a Blend If channel
      6m 12s
    8. Enhancing highlights by hiding them
      5m 9s
    9. Smart Object first, layer mask second
      7m 22s
    10. The Fill Opacity Eight
      4m 30s
    11. Blending Smart Filters
      7m 24s
    12. Cleaning up edges
      7m 39s
    13. More fun with luminance blending
      6m 22s
    14. A first peek at the Calculations command
      12m 11s
    15. Masking a softly focused model
      11m 46s
    16. Moving layers and masks between images
      7m 35s
    17. Matching colors
      9m 13s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 50s
  2. 2h 33m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 18s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 3s
    6. Masking an adjustment layer
      6m 37s
    7. Creating two windows into an image
      7m 42s
    8. Whitening teeth and adding other highlights
      3m 46s
    9. Mapping a texture onto an image
      4m 1s
    10. Isolating a texture with a layer mask
      6m 44s
    11. Welcome to the glass composition
      3m 18s
    12. Balancing shadows and highlights
      5m 51s
    13. Masking the glass
      7m 24s
    14. Masking the text
      9m 23s
    15. Adding and blending the goldfish
      8m 45s
    16. Assembling the perfect group photo
      5m 12s
    17. Aligning photographs automatically
      5m 26s
    18. Masking in each person's best shot
      5m 18s
    19. Masking densely packed people
      6m 17s
    20. Crafting the perfect final poster
      5m 16s
    21. From the improbable to the impossible
      1m 56s
    22. The fantastical "world of clones" effect
      10m 0s
    23. Upsampling and blurring a background
      8m 39s
    24. Adding a knockout mask
      8m 3s
    25. Choking edges with Gaussian Blur and Levels
      3m 46s
  3. 2h 27m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 22s
    3. Brightening and neutralizing the eyes
      8m 22s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 4s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      6m 0s
    9. Refining the color mask
      6m 40s
    10. Adjusting the edges around fabric
      7m 56s
    11. Perfecting hair
      9m 35s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 48s
    14. Adjusting the knockout depth
      8m 48s
    15. Fashioning a depth map
      6m 12s
    16. Invoking a depth mask from Lens Blur
      6m 38s
    17. The perfect depth-of-field effect
      6m 25s
    18. Sharpening an archival photograph
      7m 7s
    19. Creating an edge mask
      8m 29s
    20. Making a High Pass sandwich
      7m 46s
    21. Applying the edge mask
      6m 2s
    22. Customizing your sharpening effect
      4m 6s
  4. 2h 3m
    1. Channel Mixer, I am your father!
      1m 39s
    2. Three ways to gray
      7m 49s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 10s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 1s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 43s
    9. Taking shadows to the brink of black
      3m 56s
    10. Elevating highlights, leeching saturation
      5m 58s
    11. Deepening a black-and-white sky
      5m 49s
    12. Infusing luminance levels with color
      5m 44s
    13. Creating an opposing colorization scheme
      4m 58s
    14. Bolstering contrast with the Green channel
      5m 37s
    15. A tiny improvement to a terrific technique
      7m 39s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 18s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 9s
    20. Making pupils match
      4m 8s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 37s
    2. The Calculations command
      8m 16s
    3. Blue Screen blending
      7m 40s
    4. Refining the Blue Screen mask
      5m 53s
    5. Brushing away color fringing
      7m 24s
    6. Locking the transparency of a layer
      6m 22s
    7. Nondestructive layer painting
      7m 36s
    8. How the Add blend mode works
      8m 40s
    9. How the Subtract blend mode works
      6m 43s
    10. Focus, noise, and other masking challenges
      5m 33s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 25s
    13. Comparing two channels with Difference
      5m 24s
    14. Enhancing the contrast with Curves
      9m 11s
    15. Gathering details with Apply Image
      9m 43s
    16. Dodge highlights, burn shadows
      6m 6s
    17. Dodge and Burn in action
      8m 24s
    18. Painting in the scalp
      10m 1s
    19. Painting away the face and chin
      4m 53s
    20. Compositing complementary images
      4m 13s
    21. Multiply, Minimum, Blur, and Apply Image
      6m 40s
    22. Crafting the final composition
      7m 7s
  6. 1h 57m
    1. Mark of the Pen tool
      1m 35s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 25s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 15s
    7. Adding and deleting interior points
      6m 6s
    8. Converting a path to a selection
      3m 35s
    9. Converting a path to a mask
      6m 38s
    10. Smooth points and control handles
      8m 57s
    11. Making cusp points
      6m 0s
    12. Combining paths in a vector mask
      7m 55s
    13. Turning a path into a shape layer
      8m 57s
    14. Combining paths to make a layer mask
      7m 52s
    15. Mixing layer and vector masks
      10m 14s
    16. Editing character outlines as paths
      8m 39s
    17. Using the Convert Point tool
      7m 8s
  7. 3h 17m
    1. Where there's a will, there's a way
      1m 18s
    2. Masking natural cast shadows
      4m 10s
    3. Applying the cast show
      4m 2s
    4. Creating a difference mask
      3m 7s
    5. Applying an arbitrary map
      3m 50s
    6. Making the flesh mask
      7m 17s
    7. Roughing in an object mask
      6m 49s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 53s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 9s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 55s
    16. Merging the best of two Levels iterations
      4m 4s
    17. More fun with Dodge and Burn
      6m 14s
    18. Fixing edges with the Pen and Stamp tools
      7m 29s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 43s
    21. Building the flame mask
      9m 22s
    22. Amplifying the flame
      3m 53s
    23. Masking an image against a busy background
      5m 15s
    24. The Freeform and Magnetic Pen tools
      6m 52s
    25. Masking with arbitrary maps
      9m 32s
    26. A more deliberate approach to arb maps
      10m 51s
    27. Combining arb maps with paths
      9m 28s
    28. Masking with the help of the History brush
      11m 38s
    29. Creating a High Pass mask
      7m 25s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 29s
    32. Subtracting and merging the beak
      11m 6s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 50s
    2. Scanning line art in 8-bit and 16-bit
      5m 9s
    3. Measuring the 16-bit difference
      8m 9s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 13s
    6. Editing in Camera Raw, opening in 16-bit
      8m 22s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 18s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      6m 0s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 25s
    13. Modifying a layer mask in 32-bit
      4m 56s
    14. Converting to and correcting in 16-bit Lab
      12m 7s
  9. 2h 8m
    1. Photoshop flirts with the third dimension
      1m 13s
    2. The displacement map
      8m 24s
    3. Making custom waves
      7m 14s
    4. Creating a Gaussian distribution
      4m 32s
    5. Using a two-channel displacement map
      6m 28s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 34s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 7s
    10. Dipping the moon into the water
      6m 18s
    11. Turning flesh into stone
      7m 55s
    12. Wrapping the stone around the face
      7m 27s
    13. Softening a displacement map
      8m 5s
    14. Making a repeating watermark pattern
      9m 22s
    15. 3D embossing with Lighting Effects
      10m 48s
    16. The amazing credit card type effect
      6m 56s
    17. Lightening the credit card letters
      6m 16s
    18. Wrapping the background around the text
      6m 27s
  10. 1m 43s
    1. Goodbye
      1m 43s

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