Separating flesh tones from hair


show more Separating flesh tones from hair provides you with in-depth training on Design. Taught by Deke McClelland as part of the Photoshop Masking and Compositing: Fundamentals show less
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Separating flesh tones from hair

In this exercise, I'll show you how to use our hair mask in order to separate the hair from the flesh tones, so we can regain the details along the model's jaw, neck, and shoulders. Now, I am going to switch over to the RGB composite at the top of the Channels panel. Switch back to the Layers panel, Shift+ click on the layer mask for the M2 R10 layer in order to turn it back on, so we are now seeing the two model layers working together inside of our composition thus far. The M1 R40 layer; that's the one that contains the good details where the model's jaw, neck, and shoulders are concerned.

If you want to see what I mean, I'll go ahead and switch the Blend mode from this layer from Multiply back to Normal, and you can see that that brings in that good information along the shoulders, along the neck, and along the jaw on both sides of the model. So what I propose we do is we take this layer, we make a duplicate of it, and then we mask her hair away, because after all, ...

Separating flesh tones from hair
Video duration: 8m 28s 11h 36m Intermediate

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Separating flesh tones from hair provides you with in-depth training on Design. Taught by Deke McClelland as part of the Photoshop Masking and Compositing: Fundamentals

Subject:
Design
Software:
Photoshop
Author:
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