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Photoshop Masking and Compositing: Fundamentals

Turning garbage into gold


From:

Photoshop Masking and Compositing: Fundamentals

with Deke McClelland

Video: Turning garbage into gold

Okay, so after watching that previous exercise you may feel like well, I guess the quick selection tool isn't really that bad as long as you go ahead and combine it with refine edge. That would be the wrong moral to the story. The actual moral is, the refine edge command can do that with any selection outline. So what I'm going to show you in this exercise is how you can start with the roughest selection imaginable and then make it altogether better using nothing more than the Refine Radius tool, just that one tool by itself.
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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

Turning garbage into gold

Okay, so after watching that previous exercise you may feel like well, I guess the quick selection tool isn't really that bad as long as you go ahead and combine it with refine edge. That would be the wrong moral to the story. The actual moral is, the refine edge command can do that with any selection outline. So what I'm going to show you in this exercise is how you can start with the roughest selection imaginable and then make it altogether better using nothing more than the Refine Radius tool, just that one tool by itself.

All right, so we're going to start things off inside the original version of Sunny and sky.psd once again found inside the 07_refine folder and I'm going to select the image using the Lasso tool. So I'll go ahead and select the Lasso or press the L key, and then I'll press the Alt key or the Option key on the Mac and I'll just click around the image like so in order to draw this polygonal selection outline. And notice that I'm not laying down all that many points. I'm not trying to be very accurate at all, and I'm zoomed way the heck out so I don't have to worry about auto scrolling.

When I get to this point here, I'll go ahead and release in order to draw that amazing selection you see right there. Now, I do have o do a better job inside the finger. So I'm going to go ahead and zoom in and instead of using the quick selection tool I'll use a tool that's going to work better for our purposes which is the Magic Wand tool. And now notice that all of my options up here in the Options bar are set to their defaults so Tolerance is 32, Anti -alias, and Contiguous are turned on. Then I want you to press the Alt key or the Option key on the Mac and click inside of this little wedge and then Alt+ Click, or Option+Click inside this area well to deselect them.

All right, now I'm going to go ahead and express this selection as a mask by dropping down to the Add layer mask icon at the bottom of the Layers panel. And then I'll go up to the Select menu and choose Refine Mask command and rather than modifying any of the numerical values or turning on Smart Radius or doing any of that stuff I'm just going to work with the refine radius tool. I'll go ahead and zoom out a little bit so that I can see the entire image. I want to make sure that I brush all the way to the top and I'll increase the size of my cursor.

However, my Radius value is active so I need to turn on and off the Show Original check box to deactivate the numerical values. That's just something you have to do on the PC you don't have to do that on the Mac. And I'll increase the heck out of the size my cursor by pressing the right bracket key several times then I'll paint over that big region of hair and just like that it gets better. So you don't have to start with a good selection in the first place. In fact, you can start with relative garbage in the case of this image. But this is a fairly easy image to work with, because it has such a plain background.

All right, I'm going to increase the size of my cursor farther just paint one big paint stroke over on the left- hand side that takes care of that. Go ahead and zoom in on this region here. Now, I'm going to decrease the size of my cursor and paint inside this region. In order to reevaluate it we need to paint down here as well in order to reevaluate that slight detail. So I'm going to decrease the size of my cursor until it fits inside that strand of hair. So I'm going to make it pretty tiny and you can see the Size of the cursor up here in the options bar.

Notice it's 9 pixels in my case, and then I'll Alt+Drag, or Option+Drag carefully through that little region like so, it does a pretty decent job. We have some rough edges inside of the fingers, you do not want to paint with a refine radius tool, because that will mess things up. What I propose we do is increase the Smooth value to 1, just to smooth things off ever so slightly and then click OK in order to refine that layer mask. All right, let's go ahead and center the zoom and then zoom in here and I'll scroll up a little bit so we can see the difference.

This is before if I press Ctrl+Z, Command+Z on the Mac quite the selection outline I started with and this is the after version if I press Ctrl+Z or Command+Z again, so much better as you can see. If you decide at some point that this new mask isn't quite everything you want it to be you can apply refine mask again. So you can apply this command as many times in a row as you like. You are of course modifying the layer mask so that is a destructive modification to the mask. However, it's a nondestructive modification where the overall composition is concerned.

So with that layer mask selected, I'm going to return to the Select menu choose Refine Mask again. The thing that's bothering me is that I'm seeing a little bit of blue here inside of the edges of her hair. So in other words, we've a little bit of color fringing going on. And this command offers an automated method of getting rid of that fringing. It's this Output value right here Decontaminate Colors. If you turn it on I want you to notice something notice Output To is set to layer Mask. In other words, normally when you use this command you're going to modify the contents of the layer mask.

However, if you turn on Decontaminate Colors that's actually going to change the colors inside of the image itself and notice that we have some brown showing up in the hair and these browns are caused by the flash colors bleeding into the hair. That ostensibly is going to get rid of some of the blues inside the hair. We're doing a nice job of getting rid of the blues up at the top of the hair, because it's low saturation blacks that are bleeding into this region. However, I'm not sure I'm too pleased with what's going on around the fingers. You have the option of controlling the Amount of decontamination.

If you're seeing too many colors change you can reduce that value if you're seeing not enough colors change you can increase that value. In our case, I'm going to go ahead and take that value down to something like 20 ends up doing a pretty decent job. Notice now Output To, because we are modifying the image itself we are recoloring it, Output To is set to new layer with layer mask. In other words, Photoshop is wary of modifying your original image so it's creating another one. Click OK and you create a new version of the sunny layer and the old version is turned off.

I think that looks pretty darn good so I'll go ahead and stick with it. Anyway there you have it, one of the best selection tools inside of Photoshop not quick selection, or any of these other automated tools over here in the toolbox, but rather the refine radius tool that's available to you exclusively inside the Refine Edge and Refine Mask dialog boxes.

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