Before we get started, I really
just want to quickly go through... and show you all the different things we're
going to be masking in this long video. We're still going to cut people out
like this using 'Select', 'Subject'. This guy as well, this guy as well. So we do a lot of examples
masking out people, which is super cool. Then we look at another selection technique
for say, these Blueberries here... using something called Color Range. It's great for--
see these two Blueberries here... same with the banana. Color Range is a great addition
to your selection file now. We'll also look at doing selections
for this grass, and the blue here. We just isolate, say the greens here,
and work on that. So I turned that on, you can see,
the green's fixed. That greens, good greens. Same for the ocean here,
kind of change the Hue of it. So we use selections to do
adjustments as well as masking. We'll also look at techniques for
selecting just, say skin. So we can do adjustments like this. To kind of just add a bit
of warmth and tone to the skin. It gets better, we put all
those techiques together... to create this little graphic here. Combining all the graphics
we've made so far. As well as selecting and adjusting... the color of this color splash
through the middle. I'll show you a cool technique where
we mask things inside of a group... so that we can have all
these individual parts... or moving around separately being masked
by this overall banana. We get into some super nerdy masking
using some quick Channel Mask. You can see the background here... I want to change that out
for another sky... but it's going to be super hard with
these blurry out of focus plants here. But it's going to be easy using
a Channel Mask; brand new sky. We'll use Channel Masks again
to select this tree line... trying to turn it in from day to night. I'll show you how to do
selections based on focus. You can see here, this is in focus,
the background's not. Check this out, I can make
a selection based on that. Photoshop is awesome. And in this case all I've done is... add a little bit of levels
to the in focus object. But later on we'll use that same technique
to do things like this... where the background's out of focus,
but this is in focus... and do a really quick easy mask. We'll take our techiques a bit further... where we start combining images,
where we cut out the jar here... put it on to a new background,
then I'll show you how to add... kind of realistic shadows to make it
look realistic-ish in the new scene. All right, it is a really big course,
I hope you enjoy it. First up, let's pass it on to the real
Daniel to introduce himself, or me. Take it away, me. Hi there, my name is Dan. There are exercise files for this video,
so you can play along. You can download them free
from the link in the description. Just know that it is an extract from
my longer Photoshop Advanced course. If you want to check out the full course... there'll be a link in the
description as well. All right, get in there.
Enjoy the class. Hi everyone, it is time to get started. We're going to start with
something called Select Subject. It is an amazing tool. If you've ever spent long hours
masking out people... this might make you cry, but don't worry,
it's new for Photoshop. I can show it to you here
in about two seconds. 'Select', 'Subject', it creates
a selection, and you add a mask. Is it that easy?
Yes, some of the time. So let's take this super amazing
easy-to-use tool right through its paces... see what works easily... what takes a little bit more work... and if you've ever had
to mask out a person... get ready for your life to be changed. Let's jump in now. To get started, let's go to
'File', let's go to 'Open'. In your 'Exercise Files', there is a folder
called '02 Selections & Masking'. Let's open up five files, I want
Select Subject 1, 2, 3, 4, and 5. So 'Select Subject'. Open all five of those. Basically what I've tried to do is... this first one here, Subject 1
is pretty easy to do... and they slowly get harder and harder... because often you see tutorials online,
and you're like... "Yeah, I use this tool, and it's amazing,"
and you know, works perfect... then you go and use,
and you're like, "Hmm." "Am I doing it wrong,
or is it too good to be true?" So often, with anything in Photoshop,
it works perfect in that perfect situation. And I will show you what happens
when it doesn't, and how to fix it. So we can become professionals,
and realistic professionals. So let's start with Subject 1. The other thing to note is, if you go
to Select and this Subject is not there... it means you've probably got
an older version of Photoshop. Unfortunately, sad face,
this came out in Photoshop 2018. So if you've got an earlier version,
sorry, it's not going to work... but for the people that do have
an up-to-date version... prepare for amazingness. There's a feature,
it came out, it's under the radar... but you don't even know it exists. It's got a terrible name,
not a terrible name... but it should have an exclamation mark
or some sort of flame emoji next to it... because it's that good. Stop talking, Dan, and start using it,
just click on it, that's pretty easy. Kick back, relax, wait for
your machine to do it... depending on how big the image is. Look at that selection. Now don't worry, it's not
absolutely 100% perfect... it gets you 80% of the way there. Let's look at the selection
by adding a Layer Mask, click on that. You can see, there's a few issues going on
that we can fix up reasonably easy... using one of the other cool new tools,
it's called Select and Mask. But it's pretty amazing how,
it uses something called Adobe Sensei... which is Adobe's Artificial Intelligence
machine learning. I don't really know which of those
it is, it's fancy though. It looks at lots of other images online... and tries to calculate a selection
based on kind of past images. To be honest I don't know how
it works, but I do know... how to fix our selection because there's
a few little bits that are just... you can see around the beard there,
sometimes it's just perfect. I found one that was kind of half good,
it's done a pretty good job. So to fix it up what we're
going to do is... just make sure your mask
is selected over here. So not the image, click the mask. Then click on 'Select & Mask',
another really cool feature. Now at the top here,
yours is probably set to Onion Skin. Let's go against 'On Black', it's going
to give us a really good contrast... between the background and the model. And I've got my Opacity right up,
if yours is not. Now in these features here,
yours might be all twirled up... nice and pretty like that. There is no like exact thing
that I use every time. There is a lot of playing, so you
might spend-- like we spend like... absolutely like three seconds
doing the initial mask... but you might spend
another minute or two... dragging these sliders up and down
to see what it does. Edge Detection is going to work reasonably
well in this one because I've practiced. Basically what it does, it just
gives you kind of a fluffy edge... for it do some more calculations in. Smart Radius on, Smart Radius off. Don't worry too much about
what Smart Radius does. Do it on and off to see,
does it make it better? In my case no, does it make it worse? I think I like it on,
leaves a bit more detail here. And I close up Edge Detection,
let's go to Global Refinements. Smoothing it out,
it probably needs a little bit. There's a few bits that
are bit jagged over here. And if you're like,
"Hmm, did I make it better, or worse?" See up here, where it says Show Original,
turn that on. Turn that off, we've made a load better. So P key, you can just toggle
that on your keyboard. See the thing in the
brackets there, P on, P off. Feather, I never use, you might have
an experiment with it, you might love it. Same with Contrast, Shift Edge,
I use a bit... just to kind of tuck it in a little bit... there's a bit of ghosting around
the outside, so how much? Now Shift Edge and this one down here
called Decontaminate Colors... I kind of fight between. Sometimes I use this,
sometimes I use this one. Let's turn on Decontaminate Colors. Have a look here along the top, so off... on, it just kind of helps
extract the image from the background. So sometimes it's shifting the edge in
a little bit, or Decontaminate Colors. In this case I'm doing a bit
of both, let's go back out. It's looking pretty good. There are some manual
touch-ups I need to do. Like there's a bit of a shoulder missing. So what we're going to use
is this option here... the third option down, the Brush Tool. This is basically--
I'm just going to click and drag. It just kind of adds the background
back in, in one big fell swoop. Because this thing's doing
so many calculations over here... my drag is taking forever to kind
of populate, so I'm going to undo that. I'm going to zoom in, move down,
I'm just going to paint in with my... paintbrush, give it a second. So I'm just going to paint in
some of the kind of poorer areas. It's all looking good. There's a few bits of ears
that I might touch up. So with it natural,
it just paints things back in. And I undo that. If you hold down the 'Alt' key on a PC,
or the 'Option' key on a Mac... it's really hard to see
out here on the screen... but there's a little plus '+'
that turns into a minus '-'. So I'm just going to toggle that
a little bit off from his ear. That probably needs a couple of clicks. Except the beard there. You can see, it's always calculating. That's why it's a little
bit hard in this area. Sorry, this Mask & Select
program to be very quick. It depends on how fast your computer is. How big are the images, how much of
these dials you've messed around with. I'm happy enough with that,
like it's a pretty good mask, right? It really depends on its final position. I'm going to put mine on the brick work,
which is Subject 5... and it's going to be pretty forgiving',
so let's click 'OK'. What you'll notice is, if you
turn on Decontaminate Colors... that last little option.. instead of updating your current
Layer Mask, it will create its own one. So I want to move it to this last
head here, and grab my 'Move Tool'. Click, hold, drag, drag, drag. Holding the 'Tab', then drag it back down. And, pretty awesome mask.
Cool, huh? Let's look at a few more examples... and go deeper with
this kind of model selection. So I'm at 'Select Subject 2'. Let's do the same thing,
let's go to 'Select', 'Subject'. Kick back, relax, and be amazed. This one here is a lot different... because there's a lot more
kind of like fine hair... which is always a problem
when you're selecting models. Even so, it's done a
pretty amazing job. There's a little bit of stuff here
where the color of his jacket... is very similar to the background. But let's just apply the mask,
and see where we're at. Now you might decide, actually,
that's it, that's good enough for me. I am out of here,
it's a pretty amazing tool. Well done, Photoshop software engineers. But let's go into it in
a little bit more detail. So make sure you've got
your 'Mask' selected... and let's go to 'Select & Mask'. You can see, against black,
there's some issues. Now, in the last image... we had a pretty consistent line
around the outside. The guy had a nice clean edge,
and not frizzy haired like this person. Nice, easy to mask here,
this person, not so easy. I find this better as a two-step process. If you've got global controls that
does every single edge here... then you can use your brushes
to do little bits. So I find I get the big
global stuff done first... and then come back into here
to do things, like here. So in here, there's a bit of experimenting.
I'm just looking at some of these edges. like here we go, we'll use this bit here. So radius, drag it up. Am I happy with it? It's getting better.
Remember P, on your keyboard. I think I liked it better before. I think it needs a
little bit of smoothing. There's too many like jagged bits, so I'm
just going to smooth it out a little bit. There you go.
It's done it look nice, radius. There are no settings specific, it's
just-- it depends on your image... and depends on the look I'm looking for. I think there's a pretty good one,
so P key, tap it on, tap it off. Ignore the hair, but look at
the edges of the jacket. It's done a whole lot better, great. So I've finished that now,
I'm going to click 'OK'. Because now I want to go back into it. So the same thing again, Select & Mask,
and work on just this... because these are all reset back to zero. If you don't, and you start using
this tool here, the Redefine Edge Tool... it just becomes a bit messy. It's all trying to do lots
of things at the same time. So this tool here, brilliant, watch this.
Prepare yourselves, click, drag. And I'm dragging, and you're like... "It's okay, not bad,"
but wait for it when I let go. Magic, some amazingly selected here. There's a little bit of ghosting
around which we can fix... but you see all this hair,
which doesn't exist. And it magically does,
watch this, click and drag. So good! And what I might do is,
there's a couple of things... one last thing, these eyebrows
need just a tiny bit of work. What I might do is, smaller brush size,
just kind of work them around here. And there's this bit in here. Will the Refine Edge work on it?
Oh, it did. I thought I was going to have to
jump to this plain old paintbrush... but you impress me more. Cool, from here on in... like it depends on where
you're using it again. If against black you're going to have
to spend a bit more time in here. I want to touch on Decontaminate Colors,
that's not for me. If you ever turn that on, it's going to
create this new layer with mask. I just want to go back to just
updating my Layer Mask, please... rather than a whole new layer.
Let's click 'OK'. I am-- how happy am I with it? I'm going to copy and paste it onto here.
Check it, let's turn you off. Goodbye, winky man. Back to Subject 2, and instead of
dragging it-- people hate this, I hate it. It's a pain doing it that way, I'm just
going to show you another way... because we're here for some advanced
tips, right? So right click 'Layer 0'. You might already know this.
We go to 'Duplicate Layer'... and it will allow you to put it
on anything that's open... and here's our Select Subject 5. Click 'OK'. Then jump to Select 5, and there he is. The cool thing about it, he comes
with his Layer Mask, which is handy. Do this more for this image,
and the top of it is clipped... but you get the idea, right, and look at
the hair, look at the hair selection. Oh, so good, eyebrows selection,
100% eyebrow selection. So with a bit of practice, if this is
something you're doing regularly... you could imagine how
fast you could make this. We've been learning it together,
I've been teaching you. It's only taken a couple of minutes. Let's turn this fella off,
and get to our Subject 3. So this guy has some issues,
or not issues, let's have a look. Let's go to 'Select',
and go to 'Subject'. I want to show you what ends up happening. It's going to miss bits,
that's what it's going to do. You can see, there's a bit on the eyebrow
down here that just doesn't match up. Is a bit that hasn't got there,
that's okay. It's done a pretty good job,
it's going to stretch up these things... and that's what's the problem with
this one is, that the background has-- see these kind of streaks
heating up through the wood. They are going to cause problems
when we try and fix it up... so we'll just go a little bit
further with this third option... with a few extra issues... because the first two were pretty easy. Still pretty amazing,
let's click on our 'Layer Mask'... and again, you might decide, job done. With it selected though,
we're going to go to 'Select & Mask'... and yeah, there's a few little issues. Can we fix this up globally? It's mainly just the hair,
the actual sides of him look okay... maybe let's do a little
bit of smoothing... just to kind of even out some of that. Remember, the P key on and off. This bit here, I could use my
Refine Edge brush, let's go here. Let's try and drag across this,
this is where we'll find... it's kind of working, but kind of not. It's because there's a big lump
of dark wood running up here... so it really wants to kind of reach into
there, rather than have a nice crisp edge. So to get around things like that,
you're actually going to have to do... some actual physical painting using
the Brush tool. So I got the Brush tool... but I want to use minus '-'. I'm just going to manually tweak this out. The cool thing about using the Brush tool,
and using these settings... is that you're brushing.... but it's also applying this kind
of smoothing to it as well. There's a bit down here that
we need to get rid of... and that Refine Edge brush
is never going to work. So we're going to tidy these up manually. Brush sizes. Why doesn't it work? Because I've
tried it, and couldn't make it work. There is just times where you're
going to have to get in there... with a teeny tiny paintbrush. As long as you're inside Select & Mask... and you've made some of these adjustments,
like Smooth... while you are going, it's adjusting. It can slow your computer
down a little bit though. So you, goodbye. So I've done the edges,
now I want to do the hair. And what I like to do, instead of going in
and doing the edges of the hair now... I have to click 'OK' and come back in. Why? Because it's trying
to do that smoothing.... all the time, I'm using
my Refine Edge brush. And they're kind of fighting with
each other, and I don't like that. I find it doesn't give me a nice result. So I click 'OK', and then
just go straight back in. And everything set back to 0... see Smoothing is at 0, now I
get to go to Refine Edge tool. How big is my brush?
That works for me. Let's have a little look.
I'm just going to rub across his beard. Quite intimate here, with the man's beard. Love the tool. It's all about the combination
of tools in Photoshop... once you get to kind of
an advanced level, right? Knowing which tools to use,
which is the hardest thing... and that's why I'm here to show you. It's also combining them. Now, can you see here,
this is a bit of a problem... because there is a streak
of wood that runs up there. And that's what's giving
us our problems here. So what we're going to have to do
is just get in super tiny. This is the way to get round
these kind of issues. So getting super tiny, I'm holding
down the 'Alt' key on a PC. When I say get in super tiny,
I say, go get nice and close. And I'm going to hold down the
'Option' key on my Mac, 'Alt' key on a PC. And just get rid of these. Even smaller brush. And you can find you can kind of
work it back in and back out. Just small little parts, here we go. 'P' key before, after. Cool. Just working around, see it looks good. Not sure why the beard seems--
it seems more personal. Comments here, I'm sure I could. Trimming his beard. You don't need to know this. All right, ear, now the ear here I'm
reluctant to hit it with this tool... because it will kind of make his ear
all wishy washy. I know it's a nice solid part of skin
so I'm going to go to my Brush tool... and just use my minus '-'. Make it a bit bigger, holding down the
minus '-' key, or the 'Alt' key on my... sorry, the 'Option' key on my Mac,
the 'Alt' key on my PC... I'm just going to go around here. And just manually tidy it up. All right, my friends, you're looking
handsome, let's click 'OK'. Cool mask, let's move it
to this other document... and I'm going to share with you one last... kind of moving it to
another document trick. So we've done the drag,
we've done the duplicate. There's an old but new
updated feature, Copy & Paste. The reason you probably
don't use Copy & Paste is... in the past, you went, 'Select All',
'Copy', 'Paste'... and it only brought through
either the image or the mask. You can see it here, didn't bring in
the whole, like little group. But that's been fixed by Adobe. So instead of doing like
a Select All, and Copy... just go to--
so I've got this layer selected... that layer selected there, just go
to 'Copy', you can use your shortcut. 'Command C' on a Mac,
and then go to here and go to 'Paste'. And magic, Photoshop has fixed it,
and prints through the mask and the image. So no more drag, drag, drag into the tab. You got an older version of Photoshop,
you still have to do it... but 2018 on you can just go
'Command C', 'Command V'. Brings through things like... Bevel & Embosses and Drop Shadows,
and all sorts of cool stuff. So now, just select 'Layers 1', copy it,
paste it, brings everything through. Let's look at our last one, and this
is the hardest of them all. It's still pretty amazing.
Let's go to 'Select', 'Subject'. There's just a lot of
work to do, this one. I want to show you what I would do here. But there is just some manual labor,
it's done a pretty good job for most of it. I'm going to add a Layer Mask,
now that's not working, right? There's quite a lot of it,
so what I'm going to do is... I'm going to, instead of going in
and trying to fix it all in the-- remember the Select & Mask
which we've done... we're going to utilize the
Quick Selection Tool. Now if you are old-school Photoshop... and you're like, magic wand tool,
Quick Selection Tool... we don't use them because
they're terrible, it is amazing. Quick Selection Tool. I'm going to go through
and do a couple of bits. First of all I don't need any of this. So what I might do is actually just start
with my Rectangle Marquee Tool. Hold down the 'Option' key
on my Mac, 'Alt' key on a PC. And drag a box around it
to say I do not want any of that. If you're like me and you're like,
"I wonder what's still selected"... probably an easy way is
just to toggle that button. It just kind of makes everything red
to show you... what you've got selected
and what you don't. And toggle it off.
So back to our Quick Selection Tool. Turn on Auto Enhance, makes it better.
Not sure why it would not be on. I'm going to zoom in. And I find this is a good way to get
kind of closer to where you need to be... to do the finer adjustments
in the Select & Mask. So I'm going to add. Add. Quick Selection Tool's pretty amazing.
It itself learns as you go. So you'll find your initial selections
can be okay but as you go along... it's not actually just clicking on here. It's actually going back and looking at... the rest of the selection,
and making adjustments... because it knows more, it's damn smart. You can see there, it just
gets better and better... as it learns what I want
and what I don't want. Just clicking and dragging down here,
doing a bit of a loop around here. It's grabbed too much in there. Now I find as well, if I did
a big drag there, it kind of went... it started spreading out too much. So I'm going to step backwards, so 'Edit',
'Step Backwards' a bunch of times. Step Backwards, I'm using that shortcut. Just clicking once, and once is actually
probably a nicer way of using it. And I went and did it anyway, go away, you. I'm holding down the 'Option' key
on my Mac to remove from the selection. So naturally it wants to add the selection. But you can hold down the 'Option' key
on a Mac, 'Alt' key on a PC... to remove the final selection,
get rid of stuff. If you get lost in here, remember... just tap on this again,
with a quick selection. I only use that to make it red. I'm not going to use that tool anymore.
It was cool. You can see here, blue and blue,
it's pretty amazing how good it gets. There's probably going to be
some issues with the shoe lace. There's definitely some issues
with the shoe down here. For the moment I'm going
to ignore the shoelace... otherwise you'll be watching me forever,
I'm just giving it a bit of a once-over. Looking around, anything that I do
or don't want. It's a little bit in here. What I'm going to do is get the editor
speed up this last little bit... because it's just me being
probably a little bit pedantic. So, see you at the end. We're back, so a little bit more,
well a lot more work... but still, we got a lot of it,
got 70% of it, right? And add a Layer Mask,
and I go into my Select & Mask. And look at some global overall changes,
probably smooth. A little bit, just smooth
it out a bit, Smart Radius. It's pretty good, happy enough with it. So I did retouching for a lot
of years, and you get like... you'll get a hundred photos of this guy. Like the settings are all the same,
you're like... "I have to go smoothing
and shift the edge"... and often you get to the same point... like you've kind of played
around with it for a while. So down the bottom here you
can say, Remember Settings. Every time you load this back up, it's
going to remember the last thing you did. Which can save yourself some time. The other thing to know is that
we are, in this one here... say, High Quality Preview
is not turned on. Mainly because it takes a
long time to calculate. And it makes your machine
run really slowly. So if you're here, and you're
like, "Oh man, it's 95% there"... click 'OK', you might find that in
that last little bit of processing... it finishes it all out for you. It's good, even though the hair is actually
fine enough for what I want to do... but now I might go back in and work
on the hair, he's got a pretty... easy hair style, like mine.
I'm mostly bald... so masking me, pretty easy. Masking this guy, small brush. Just testing here really, I didn't
practice this, I'm just going to. Do I like it? I think it adds a little bit. Just 'Decontaminate Colors'. Don't like that. Remember, if you turn that
on it instantly changes... actually Decontaminate Colors on
this, lower it down a little bit. Still doing some weird stuff across here. It's maybe because the blue from
their containers reaching around. I think I like it on, but
with the amount down a bit. That slide there is new as well. Well at least my version,
that wasn't there before. So it was either on or off. What you'll notice down here,
where it says Artboard 2... you can't go back to that
original Layer Mask. It'll say, I'll make a Layer Mask
but it has to be a brand new layer. Why? Because it does some weird stuff.
First of all I don't like it. I'm probably going to go back. But if you did my Essentials course,
you'll know that if I disable this mask... you'll see, it does some weird stuff
to the actual original image. That's why it leaves the original behind. If you're wondering like... "Man, it's a pain, that just
creates this new layer"... it's because it actually destroys the
original to make this thing happen... they decontaminate colors... which a lot of the time is pretty amazing. In this case I don't like it so I'm just
going to go back to the original one I had. A little bit soft on the edges,
but I'm okay with that. Pretty cool mask. The layer selected, remember, all I need
to do is go 'Command C', 'Command V'. Brings the Layer Mask
as well as the image. If you're on PC, it's 'Ctrl C', 'Ctrl V'. And this guy here is nice. All right, I hope you enjoyed that
tool, it's called Select Subject. I hope I've made it a
little bit more usable... when you get results that are sub-par,
you can fix a lot of it in Select & Mask. If you've got big chunks
that are missing... you can use that Quick Selection Tool,
so it's a combo deal. All right, handsome men, not sure why
I ended up with all guys on this one. All looking great, all
looking great masks. I will see you in the next video
for a little bit of project work. Hi there, it is class project time. Don't think of it as homework,
think of it... as ways to practice what you just
learned so that it sinks in there good. This project is to practice
the Select Subject... we learned in the last video. To find this kind of Class Projects list,
you can go into your Exercise Files... and there it is there,
it's called Class Projects. Open it up, and we're going to be starting
at this one here, Select Subject. So the files to use is in a
folder called Project Zero. I'll show you where they are. In your downloaded 'Exercise Files',
in '02 Selections'. And there it is there,
'Class Project Zero'. We're going to be using
all three of these. I want you to basically
just use your skills... to mask this one here on to
number C, that's a letter C. Do the same thing with this B option here. So basically these two models,
on to this background. So you'll have to use the Select Subject,
plus a little bit of the Select & Mask. Because these are very different
kind of shots of models... you're going to have to mess
around with this background... to get them to kind of-- you might have
to play with the levels of this one. Use your existing Photoshop skills
to try and get them to blend nicely. You might have to blur the background. Up to you, but once you've
got them together... and you've got a reasonably good mask,
I'd love for you to share it. So up here is the ways to share,
the easiest way is on the website here. Go to the Assignments part
and share what you've done. Sometimes it's easier just
to use the comments... but most importantly share them with me. Share them with me on Instagram,
on Twitter, or my Facebook group. If you ask for criticism I will
give you some polite stuff. You can just share it up there
and not ask for any criticism... and just be proud of what you've done. Practice, practice. All right, go ahead and do your homework,
and I will see you in the next video. Hey, it's me again,
just want to quickly jump in. If you're watching,
but not following along... you can download the exercise files that
I'm using in this couse, free of charge. They are down in the link
in the description. Also note that--
quickly check this stuff out. This is some of the content we created... in the Photoshop Essentials
and Photoshop Advanced course. It's a mixture of creating
beautiful Photoshop work... as well as all the professional
workflow tricks and techniques. It's my paid course, there is a link in
the description for that paid course. If you like my teaching style, and you
like what you see here, check it out. But for now, let's continue on
with the free stuff here. You don't want to hear me
taking anymore, let's get going. Hi there, in this video we're going to
look at Color Range to do selections. Selecting bananas, we're going
to select blueberries... and combine them into this magical scene. And eventually into this. Kind of mess of things, that I
created to explore Color Range... because it's an often
overlooked masking technique. You might have used it
to do a specific job... but it can be used for so many things. That's what we'll explore in
the next couple of videos. If you use Color Range already,
go through these videos... because these are quite a few little
shortcuts and tips we'll use... throughout the rest of the course,
so let's get started. To get started let's go to 'File', 'Open'. In your 'Exercise Files', there's a folder
called 'Selections and Masking'. I want you to open up 'Color Range 1',
'2', and '3'. You can start with Color Range 1. Now before we get started-- I've
picked a pretty easy example. Pretty consistent color, it's
going to be a good way... to understand Color Range
if you've never used it before... but later in the course,
what we'll do is... we'll combine Color Range often
with other selection techniques... because it gets like maybe
80% of the selection... and you need to do touch ups
with other selections. And it's going to be a big
difference between... say my Essentials course
and the Advanced Course. We're going to start mashing things
together where there's times where... we can't just do one selection technique,
you need to kind of do two, three, or four. So let's understand Color Range. Let's go to 'Select',
and go to 'Color Range'. Now yours by default probably
just looks like that. So the first thing we're going to do is... we're going to click
anywhere in the banana... and it kind of gives us a kind of
a basic selection of the yellow. Under here where it says Select... yours might have defaulted
to one of these colors. I find they didn't ever work, never ever. So I find it best just to ignore these
and go straight to 'Sampled Color'. Have the fuzziness at about 100. I never really changed that
because what happens... if I click in here and I
increase the fuzziness... basically it's going to reach
out, and it's quite geeky... you can see it's going out
further, further, further. But to get the whole banana it
eventually just goes too far... and starts grabbing the background,
but in this case it didn't get any of it. So I'm going to click around. So the fuzziness just kind
of expands the selection. I find I'd leave the fuzziness at 100. What I do is I start
with an initial color... and then use this little + icon,
click once, click twice, click again. What you can do is, instead of
clicking, and just keep clicking... you can click, hold,
and drag across stuff. Just clicking, holding, and dragging,
and get it out of that color. You'll notice that when I let go it's
grabbed a large chunk of that yellow. Hasn't got these little end parts,
I can start clicking on these... but often there's some colors that
actually match the background... so I'm just going to tidy
those up with the paintbrush. If you do go too far, say you're clicking
in here and you click on something... can you see, it started
picking the background. It's a little bit hard to see I guess in
this video, but I can see it here clearly. I grabbed the '-' tool,
then click in the background... to get rid of stuff I don't want. '+', click in here again, I'm going to
click and drag and give it a wriggle. It picks up a bunch of colors. Let's click 'OK', and it's got
a pretty good selection... the two ends need a little tidy up... but let's add a mask by
clicking the 'Add Mask' button. So to tidy up the edges here. Make sure you're working on
your mask, not your image. Let's zoom in. Find the edge here, and I'm
going to paint this in. So I'm going to try and
introduce lots of shortcuts... especially at the beginning, so it makes
the rest of this class flow a lot faster. You have to bear with me a little bit
in these first few videos to kind of... get them into our system so that
we can go faster later on... because what I want to do is, working
on the mask I want to paint this out... and brush size, up the top here... I go along here, and I drag it up
and down, and I do this, right? You might know the shortcut of the - I'm going to undo that. - the square brackets '[ ]',
it's next to your P key. That makes it bigger and smaller,
but there is a super amazing extra one. On a Mac you hold down
the 'Command' and the 'Option' key. I'll do the PC in a sec
because it's quite different. So hold down 'Command' and 'Option'
on your keyboard... and then click and hold down your
mouse key and drag it left and right. That does the size, I love this one. Means I can go really big
and really small really quickly. If I use the up and the down,
can you see, does the hardness as well. So the same keys held down... I can really get into the right
size and the right hardness. If you're on a PC it's quite different, you
hold down 'Alt' key on your keyboard... and then you click and hold down,
and drag the right mouse button... the one you never use. Hold down the 'Alt' key, click,
hold, and drag left and right... and you get the same thing. Up and down does the hardness. It's a really weird shortcut
but a really good one to know. There will be a shortcut sheet
at the end of this course. Like old, kind of--
together in a nice little video. There'll also be a PDF
on that same page there. You can download it, print it off
and stick it next to your computer. So I'm on my Mac, I'm holding
down 'Ctrl' and 'Alt'. Clicking and dragging left and right
to get the rough size. Then hardness wise, I love about
anywhere between 85 and 95. Especially when I want a straight
edge, I never have 100%. Why? Because there's always a little
bit of give around the outside. Looks more natural. 100% hardness just looks too fake. Another cool little shortcut is, at the
moment my foreground is set to black. So when I paint this it kind of
does the wrong thing, right? I want to do the opposite of that. So what you can do, another cool little
shortcut is the X key on your keyboard. See my foreground
and background color here. If I tap 'X', just the
letter X on my keyboard... it just toggles the foreground
and background color. So I want white at the front,
and I'm going to paint this out. Smaller brush size,
hold down my shortcuts. You can see, with a few little shortcuts
you are going to be retouching nicer. You go too far, easy, I can zoom in... and X key to switch it to black as my
foreground color and just paint that out. I do the same thing with this bottom,
but I'm going to leave this in here... because it looks good in
my final composition... but you could now use the same thing,
black, and just paint it out. The top here is this bit I want. So I'm going to switch it back to white
as my foreground color, 'X' key. You can see how handy it is,
one of those ones worth learning. Nice. That my friends is using the
Color Range to mask an image. We're to use a little bit of Brush tool
to kind of fill in these black parts... but that's just part of Photoshop. Rarely does a tool do
all the work for you. So we're going to do a lot of
combinations in this course. What I'd like to do is
grab my 'Move Tool'... click and hold, and drag,
drag, drag into the number 3. And let it go down the bottom here. We're going to move it down here,
we'll fix it up a little bit more later on. Let's learn a little bit
more about Color Range. Let's go to 'Color Range 2'. Go back to our 'Select', and we're
going to go to 'Color Range'. Two things I want to show you,
one is the localized color clusters. What that means is if I
grab my Eyedropper tool... and click on-- say I want this guy... but I don't want all of his friends, I
just want him plus another fellow here. You can see, it's gone off and picked
them all because they're the same color. That's where the localized
color clusters comes in. And your range is probably set to 100%,
means it's just grabbing everything. And you lower it down,
you can start to see... kind of zeroes in on our little guy there. So it doesn't grab
everything in the document. Now we're using fruit... like this would be super useful if
you are, say trying to select... say you want to do some color
adjustments to a lipstick color... but not the shoes, which
are quite similar. You could click on the lipstick... lower the range down and
make that selection. We'll ignore the other, say red things
in the document, in our case, blue reds. You can add more than one. So hit this little '+' icon here,
and I want you and you. So it's picked two of these fellas.
I need to tidy both of them up. That brings me on to the second
thing I want to show you in here. And it's this one here, it
says 'Selection Preview'. Just be on Grayscale because this little
window here is far too small for working. And all it really does is that it just
duplicates this into the window here. Doesn't change anything, just kind of
showing us how the selection works. So I'm going to zoom in. And this fella here,
I want to add some of that. And some of that, clicking,
clicking, getting there. Clicking and dragging can be super useful. If you get too much of the background... I might go in here and say '-',
I want to minus a bit of that. Fix up this one as well, grab the '+' key,
just kind of drag across there. Grab it as well. You can click away to your
heart's content, or click and drag. I'm going to click this background here,
I want to get rid of it. It's pretty good, the range
is probably too far now. So I have to lower that range so that it's
picking just this little area in here. It's doing something weird there,
can I minus it out? I can. Nice. Let's click 'OK',
there it's added a Layer mask. And like I had before, it's done
a lot of the blue... but there's some bits I want to touch up. Basically it got a really good edge... but there's some middle bits,
the colors were just too different. So with the 'Mask' selected, hit 'B'
on my keyboard for the Brush tool. I'm going to use a lot of shortcuts. If I hover above this, can you
see, it says the Brush tool... and anything in the brackets
here means use the B key. This one here is the V key, you
can see it in brackets there. So the ones that you use
the most you'll learn. So you can just go 'V'
to move, 'B' for brush. My Brush size is okay, I'm just
going to tidy up, not too far. Tidy up the bits that didn't get
perfectly selected, same with this one. Nice. Because we're using that localized color
you might find that there might... have been some other kind of ghost bits
out here you might have to tidy up. So you could use your X
key to make it black. Just grab a nice big brush
and just kind of tidy up... any of these bits that are part
of the master you don't want. Let's click, hold, and
drag this little guy. So 'Move tool', drag it to 'Color Range 3'. Let's dump a couple of blueberries in. Awesome. That's how to use Color Range
to select physical objects... and kind of cut them out
onto a white background. Can be great if you are a photographer... or you do your shooting
stuff for a website... and you just want to kind of like... grab something, put it onto a transparent
background or white background... just delete the background. Color Range, especially if there's
a color that's very contrast... compared to the rest of the document... it can be super helpful, and often
overlooked in Photoshop. Let's get into the next video,
we're going to still use Color Range... but we're going to use it in
a very different kind of way. More for color adjustment. All right,
I'll see you in the next video. Hello my friends, this video we're
going to use Color Range again... but for a very different use case. Instead of masking we're going
to use it to adjust the colors. It's something that I do a lot more... instead of masking it's more
just adjusting things... like if you have a look at the leaves... they are kind of a browny green,
and now, ooh, beautiful green! And let's look at the sea. It's gone from a blue to a kind of a
nice tropical holiday cyan color. So basically we're going to use color range
to make a selection of those colors... and then use adjustment layers on them. Just to fix them up, it's a really
common way that I use color range. Let's jump in now and learn how to do it. So I'm going to work on the
document we used in the last video. If you don't have that or you skipped it,
just go to 'File', 'Open'... and open up your 'Exercise Files',
and we're using 'Color Range 3'. So basically we combine Color
Range 3 with 1 and 2... where we've got this
kind of composition now. So what I'm going to do is just turn the
Eyeball off on both of these guys... which is the banana and the blueberry. I want the background selected. I want to change the blues and the greens. Basically every landscape
photograph I ever take. I want to kind of enhance
the greens a little bit... and often the sky needs just a
little bit of Photoshop love. And Color Range is an amazing
quick and easy way... to isolate those things to
make those adjustments. Very different from the last video,
we were using it to completely mask it. So Background Layer selected,
'Select', let's go to 'Color Range'. Depending on what you were last doing you
might have to switch back to 'None'. You might have to turn 'off'
Localized Color. And you get yours looking
something like mine. We'll start at a 100 fuzziness-ish. I'm going to work on the sea here... and it's got a very
similar color to the sky. I'm happy to work on both of those,
I'm going to click once in here. You can see, it's clicked
quite a big chunk of it. Let's switch the 'Selection' preview to
'Grayscale' so we can kind of see it. Now it's grabbed most of this sea except for
this chunk here, grab the '+' button... and let's go ahead with this bit,
and it's got most of it. The only trouble is it's got
quite a lot of the sky... so I'm going to lower the fuzziness. So when I was using my masks I don't
use the fuzziness very often... but when I'm doing this kind of
like subtle Hue Saturation changes. Now I'm getting mine down-ish. And there's no right or wrong,
there's no magical number. What you'll find is
whenever I'm doing this... I'll do it once, and see if I've
gone too far or too little... and then come back and change it. So that's worked for me,
let's click on 'OK'. Basically we've got a selection of
all the kind of blueish bits... and I want to make them more cyan. Instead of making a mask
on their own layer... the easy way now is to
click on 'Adjustments'... and let's click on 'Hue & Saturation'. And what it does is it takes
that selection you had... and applies it to this Hue & Saturation
adjustment layer. So I can turn it on and off... and make adjustments to it without
destroying the background. We love a bit of non-destructiveness. What I'm going to do is-- I love--
you know, blue, skies are blue... but actually they look really nice when
they're cyan, they look tropical holiday. So I do that often with
all my landscapes... is I'll go through and just add a bit
more of the cyan rather than the blue. How much? Yes, it's working for me. I might bump up the
Saturation just a tiny bit. Go way too far. Somewhere in here. Turn
the Eyeball 'on', 'off'. So it's just a really easy way
to isolate colors. Especially generic ones, like sky... where maybe making a selection
can be quite tough. We do the same thing for these leaves,
whenever I photograph kind of foliage... I know it should be green but it always is
this kind of motley brown yellow color. That's just the way of the world... but what I want to do for
this promotional image... I want it to be our lovely green,
a nice rich but believable green. It's the same thing, I click
on my Background layer... I'm going to grab 'Select', 'Color Range'. What I might need to do is
switch it back to 'None'. Then click on one of these,
and it's picked-- there's so many different kind
of green browns going in here. I'm going to click, hold, and
drag across a few of these... where I know it's kind of a-- It's a good representation
of the whole document. I click back into here, into Grayscale. If it had to work you actually need
to have this Eye dropper on the +. Just clicking and dragging across it
with this first tool, doesn't work. I'm going to go back to 'None'. I'm going to say, you my friend,
and I click and drag across there. And now I'm going to go
back to Grayscale... and you can see I've got a
pretty good selection of this. It's got probably a lot too
much of the sand as well. The browns out of the leaves,
same browns are in the sand. I'm going to lower the fuzziness a bit. I'm going to grab my '- Eyedropper
Tool', click once in here. Click once again just to get
rid of these sands in here. We're getting pretty close.
All right, let's click 'OK'. So I've got my selection. Same as before, let's go to
'Adjustments', 'Hue & Saturation'. What I'm going to do is yank out
the saturation really high... way past where I need it. Just so that I can know that
I've got the right colors. So I want to pick a green that's not
too that green, not too bluey green. I want something in the
middle nice and rich... and then I can lower this down to
kind of make it believable-ish. Just turn the Eyeball on
and off on that layer... and you can see what I'm doing here,
just moving the kind of brown greens... to a bit more lush green. Only trouble with this, I find that this
island here is probably over saturated now. Often Color Range gets
used in a combination... so what I'm going to do is
I'm going to select on the 'Mask'... grab my 'B' key for my 'Brush Tool'. I need black as my foreground color,
remember, X toggles it back and forth. Brush size, we're going
to use our shortcut... and I'm just going to get rid of this. I'm going to make my fuzziness a bit
higher because it's quite out of focus. Brush size down. Just to touch this up. I might have lowered the opacity of this
brush so it's not such a drastic change... because now I feel like
it's completely brown. Really hard to get in here... I could get in with a really
small paintbrush to fix this up. Probably what I'd do is just
lower the opacity of my brush... before I painted it all out. Kind of faded it into here. So let's do that before I go. I'm going to go undo a billion
times till my island is back. Not too far. Here we go. So with this Layer selected,
with the Mask selected, Brush tool. I'm going to show you
a new little shortcut. We've let the size, left and right,
up and down for the hardness. Another cool one is, see the opacity? So if you look at your keyboard, the
numbers 1, 2, 3, 4, 5 along the top... not the ones on the number keypad,
you might not have one of those... but the ones that are above
the letters on your keyboard. Watch up here, where it says Opacity,
if I type the '2' key, goes to 20%. '5' is 50%, '9' is 90%,
'0' is back to 100. Weird. If you want to do it super fast,
like '5', '5' together... you can see it changes the opacity here. So it's just an easy way of picking
an opacity without having to toggle. I'm going to jump up here
and slide it up and down. You can see what I'm doing here,
I'm just not getting rid of it at all. Mainly so I can save the trouble of
having to go through and paint out... between this kind of crossover
of the leaves and the island. I'm going to turn my banana on,
and my amazing blueberries. And that is an easy way to select... a particular Hue, often really
good for landscapes, so skies... and kind of grasses, trees and stuff.
Make a selection. And with that selection you just
click on your 'Adjustments' panel... and that adjustment
takes that selection... and turns it into a Mask
for its own layers. Then you can turn it on and off. Later on, non-destructively,
it's on its own layer, and is awesome. That is it for this video,
I will see you in the next one. Hi there, this video is all about
using Color Range to select skin. We're going to make cool
little masks like this. So we can isolate the skin and
do things like this ready. Just give a bit more fullness to the skin. And if you ask me, do I use this
technique to give myself a tan... in my profile social media photos,
I'll deny it. So as long as you promise not to go out
and check my social media photos... I will show you how to use
Color Range to select skin. In your 'Exercise Files',
open up 'Color Range 04' and '5'. These images are from Unsplash,
and this one's from Scott Walters... and the next one we'll do is
from Dan 7kidz; thank you, guys. In 'Color Range 04', let's go to 'Select',
let's go to 'Color Range'. And what we're going to use is
the option here that says Skin Tones. So we're probably defaulting to
Sample Colors, let's go to 'Skin Tones'. If yours is not by default,
switch it to 'Grayscale'. Turn 'on' Detect Faces,
it looks for kind of-- basically looks for two eyes and
then kind of adjusts a little bit. I find, sometimes works really good,
sometimes it's not. Just turn it on and off and see if
your selection gets better or worse. Then it's playing around
with the fuzziness. Obviously too high, it's going to have
too much the background selected. So I want it to be reasonably high,
and it's working okay. There's lots of similar colors in here... so my guess is,
about 30 to 40% of images... at least the picture that I've got... this technique will work as
good as we're doing here. The rest of the time there's just
too much color in the image... that's very similar to skin,
and this technique doesn't work. I want to give you honest examples,
I guess. This one here is pretty good because
there's a nice clear definition... between here in the background
on most parts. Same with the shirt, there's a
good enough differentiation. It's not perfect, by no means... but there's still a
little bit of work to do. So let's click 'OK',
so we've got a selection. What I want to do is-- adjusting skin,
it really depends on what you need to do. She has a particularly fine skin tone,
they're not blown out. There's no color cast so what
I would tend to do is... with this selection,
let's go to 'Vibrance'. I just want to like lift
it up a little bit. So 'Adjustments', and we use this one
here called 'Vibrance'; I love vibrance. I think I'll go right up
to show you what it does. Can you see it added like--
I've gone too far... but it's added kind of a
lot of fullness to here. So I wouldn't generally
have it that high... I'm just doing kind of slight adjustments. So on, off, a little hard to see. How far is too far? That's fine. The problem is it's affecting a
lot of the rest of the image. You might decide, actually that's fine,
nobody's going to notice... but let's say you do want to
isolate it just for the face. Now what we can do is use our
Brush Tool to paint it out... and I'm going to show you a
nice little extra trick. If you're on a Mac, look down your
keyboard and hold down the 'Option' key. If you're on a PC hold down the 'Alt' key. And what you need to do
is click your mask here. The cool thing about that is... you haven't wrecked anything, or changed
anything, or made it black and white. It's just showing you a big version of
your mask, which makes it easy to paint. So I got my Brush Tool selected... I'm going to pick an
appropriate Brush size. And Hardness, I get mine up to about 87. Make sure it blacks my fill ground color,
and just kind of paint out-- I'm just showing you a lot bigger. And just paint out the bits
I don't want included. So use Color Range to kind of get started
and get a lot of the hard work done but... like so many things in Photoshop
they're just so many like other... annoying things that ruin
your perfect example. So in this case I'm just going around... there's a nice little black bleed
around the edges of them. You might not get this lucky... but like I said it works for
enough of the things... that I work on to give it a go... because it doesn't take very long, right? I've been teaching you how to do it... and we've only been at
this a couple of minutes. Brush size down. Weird straw thing. I think we're close enough
to this being okay. The Hue here is probably the worst part... because it's such a close
color to the skin... but now we've just got the skin selected. So we use Color Range in skin tones
to get it kind of started... and then we paint out the rest. There's a lot of this in Photoshop, where
you get a selection that's pretty close... and then you tidy it up
with the Brush Tool. To get it back to how it was before,
the same key... so hold down 'Option' on a Mac,
'Alt' on a PC... and just click on the 'Mask' again. Now that Vibrance layer is
only adjusting the skin. You'll see up here, it's disappeared... so I can click on the word
'Vibrance', and its back again. Ain't got the saturation to
give her an ugly sun tan. So I use vibrance just
to enhance the colors. If you're finding you've got-- you might use the same selection
on say, levels or curves... depending on what you
want to do to the skin. I want to show you one last little trick,
A, to show you some extra shortcuts... but B, how I give somebody that-- this woman here, this girl
here has a fine skin pallor. Let's say though that it's
your profile photo... and you're looking pretty washed out,
or don't have a tan. Let's say tan, so what we want
some richness in the skin. This is my trick for tans. So what I want to do is, I want to--
first is the shortcut. I want that selection back,
that we did with... 'Select', 'Color Range', and then
blacking out the background. So I don't have to do all that again. What I can do to get the selection is just
hold down the 'Command' key on a Mac... or the 'Ctrl' key on a PC,
and just click on the mask... and it loads it as a selection.
Super handy little trick. And what I'm going to do, I'm going to go
to 'Adjustments', 'Hue & Saturation'... I'm going to go to 'Colorize',
yank up the Saturation... and I'm going to find a color
that I want this person to be. We're going to be in the-- we don't want it to be red, we want
it to be kind of like orangey yellow. I have the Saturation up high
just so I can get my Hue right... because we don't want them that color. What I also want to do is play around
with my Blending Modes or my Layer Modes. So with 'Hue & Saturation 01',
go to 'Normal'. I find this always works with Soft Light. So it's still too high, but you can see
it's blending in a lot more. I'm just going to lower the saturation
until there's something-- like she had a fine old color already... so I'm not going to have to do much. So what I might do is--
I wanted to show you here-- I'm going to go quite low because she
didn't really need any of this extra color. Zoom in, see how orange I've made her. You got to decide how kind of
rich you think they need to be. With this layer selected as well... I'm probably going to lower
the opacity a little bit. It's all about subtle adjustments,
you can see that on. I'm going to turn both of
these on, both of them off. So I haven't made much adjustment because
the photographer, Scot Walters here... had a pretty nice original image. If you're working on your own work
or your own profile photo... you might find that you need to have some
of these settings a little bit higher... like Vibrance and Saturation... just to give yourself a bit of a tan,
or a bit of healthiness, or color. Regardless of how you think
my tan on this girl is... you might think I've ruined it. What's important is the technique,
so we started with 'Select'... 'Color Range', and we use 'Skin Tones'. And like I said, it kind of works
really good on about 30-40% of images. As long as there's a clear contrast
with the background. Then you have to blot out the
background with a big paint brush. We learned the cool shortcut... by holding down the 'Alt' key on a PC,
and 'Option' key on a Mac. Just to get that one
little layer selected. Makes it so much easier
for tidying up masks. Same key down to click it again,
to turn it off. The other really important shortcut was
'Command' key on a Mac, 'Ctrl' key on a PC. Just clicking the Mask, and you
get that loaded as a selection. I'm going to use that a few
times throughout this course. I'm going to 'Deselect'. The reason I got you to open up
Color Range 5 is that... there's going to be lots of
examples that just don't work... and this is going to be one of them. So let me show you why. Let's zoom in a
little bit, 'Select', 'Color Range'. We're going to pick 'Skin Tones'. 'Detect Faces'. You can see the big problem here. Here is a very similar
skin tone to her skin. And all the stuff in the background,
that's all very similar. So I can play around with
this for as long as I like... but really it's not going
to give me a great example. We're going to get into something
called a Channel Mask later on... which will do better for this... but I wanted to show you some kind of
realistic examples wherein it doesn't work. I love Color Range, when it works. That is it for Skin Tones and Color Range. Let's get into the next example. Hi there, this video is going to take
everything we've learnt with Color Range... and put it into a practical exercise. I felt like we needed
this video because... learning Color Range in
isolation is great... but often you'll run into issues
when you're trying to combine it... with a bunch of other things,
like Type here. So we'll do this exercise to kind
of flash out any problems... that you will run into in the future. Plus it will allow us to practice
what we've learnt so far. Are you ready to make a super smoothie ink? Well, it's meant to be banana splash thing. If you are, let's get started. So I'm starting with this
example from earlier on. You could just jump in and just
start with the background color. You might decide, the fruit splash
stuff you don't have to actually do. You just want to do the ink with the text. Up to you, but what I want to do is... I want to open up the ink splashes,
so go to 'File', 'Open'. And in you folder called 02 Selections,
there's one called Color Range 6 and 7. So 6 and 7 are just variants of
the same kind of ink splash. I'm going to select them. We're going to run into some issues
and I'll show you how to fix them. And we'll change the colors and
get it interacting with the type. So whenever you get
ink splashes like this... this is from Adobe Stock and it's
on a white background. Which kind of sucks, would be nice if
it was clear-cut already, but it's not. Let's work with Color Splash 6. So we're going to have to use
a couple of tools to make this work. Let's start with our good old faithful,
'Select', 'Color Range'. We're going to not use Skin Tones,
we use Sample Colors. Click in here, and what we might
do is hit the '+' button. Drag across a bit of it. Bit of that as well. You too, you, you. It's got a pretty good selection there. If you're just joining us
for this video here... just make sure your selection
preview's on grayscale. It gives you good kind of
black and white contrast. Let's click 'OK', and let's
turn it into a Mask. Now our biggest problem is, can you see,
there's a white chunk in there. So it's missed that out,
so when I turn it into a Mask... and click on this button here. It's cut little holes in here... and you got to decide whether it's
worth fixing these up or not. I'm going to, so I'm going to use my... remember our little trick, we hold down
the 'Alt' key on a Mac or 'Option' key... no, it's 'Option' key on a Mac,
'Alt' key on a PC, click on the Mask. Makes it super clear. I'm going to grab my 'Brush Tool',
which is the B key. And I'm using my super shortcuts. Wrong, 'X'. So I'm using white as
my foreground color... and I'm just kind of tidying up the bits
that are clearly not holes. They are just things that
Color Range left behind. How hard core am I going to do for this? I'm not super worried because
it's-- I don't know. I know because I've
practiced that already. That, nobody's going to notice
any of these small bits. But I guess I'm just showing you, holding
'space bar' to click and drag around. You probably knew that already. We're getting there, Cool. Move it down. Remember, same key, hold down
'Option' on a Mac, 'Alt' on a PC. Click on the 'Mask' to go back. Now let's check this to see
if we've got a good mask.. We're going to dive back into the
masking technique we used... in the intro version of Photoshop course,
it's called Photoshop Essentials. But I want to retouch on it because
a lot of people will jump... into this advanced class
and just not do Essentials... and miss out some of the super magic
that happened in the Essentials course. So what I'm going to do is... with my Mask selected, I'm going to
click 'Select & Mask. And what's really cool about this is,
you can see up the top here... that's beyond black, and you can
have the opacity right up... so you can see a nice
contrast with the background. You might say, "Dan, that
is a perfectly good mask." And I'd probably, lazy day, I would say... "You are right," and not hint... "Hit 'cancel', and get out
of here, and use it." But let's say it's the front
cover or something... and it is going on black,
which would be tough. So if you use Color Range to get here, use
the paintbrush to fill in some parts. Let's try and smooth this out. Smooth is a nice one in this
option, so watch this, 'Smooth'. Up a bit higher, you can see, just
kind of like smoothing out the edges. Making them a little fuzzy
but that's okay... this image is a little
out of focus as well. And that might be enough, right? So cool little shortcut is the P key,
just tap it while you're in here. And it turns the original
back on, original. Soft focus version, original. It's a little slow. So just tap the P key on and off
to go back to the original... where you are at now. Two other things that I might do,
is 'Shift Edge' just a little bit. You can see, there's still a bit
of ghosting around the outside... so shift the edge in a bit. Hit the 'P' key, have I
made it better, worse? It's looking okay.
If that doesn't get it... I find Decontaminate Colors
works really well, watch this. I'm going to put the Shift Edge back to 0. And just turn on Decontaminate Colors. You can see there, just kind of fixes
up all the edges; it's pretty magic. Now you might remember from
the Photoshop Essentials... if I use Decontaminate Colors
it's going to create... a new layer with this mask on it... because it does some pretty
serious changing of the image. So let's click 'OK'. You can see here, it's this
original that I was working on... and because I used Decontaminate Colors. it says, well let's just
put it on its own layer. Because what you'll find is, if I
right click and disable this mask... you can see, it's done some really
crazy stuff to the edges... to make it a really crisp clear selection. It's awesome. We can go
back to the original... but that's why you end
up with a second layer. So I'm going to grab my 'Move Tool'... click, hold, and drag, and go
to my weird little... banana, blueberry smoothie thing. I'm going to add some text before I
get into too much coloring for this. So I'm just going to
turn all of these off. Now, cool little trick is, watch this. If these are all on, you want to turn all
of them off except for the background... just click the first one, hold,
hold, hold mouse, drag it down. Turn them all back on by clicking,
holding, and dragging across them. Just a nice little quick way of
turning just some of them on and off. So I'm going to add some Type. So you can skip along this
bit, I'm just adding Type. Stick around when we go and change
the colors of these paint switches. Actually what I'll do is I'll get the
editor to just fast forward this bit. It's not very exciting. We're back, I put in some fonts, if you're
looking for these fonts, they are... this one's Museo Sans Condensed. You can download that
from Typekit, free... but you're really after
this one here, right? This one here is called Machine Script... actually Remachine Script,
you can see it there. Now I've included version of this font
in your exercise files. Where is it? It's here, under Font. Now what you'll see is, it says,
for personal use. So if you want to use this commercially,
reach out to the owner of this... Google 'remachine script'. You can use something like My Fonts... to go and pay for it if you
want to use it commercially. So this is the free version to use,
but you can only use this personally. I love it though, such a cool font. Now I stopped here, I added a
Drop Shadow, picked a color. I wanted a Drop in here because I
wanted to show you just another trick. Well both of these have
the same Drop Shadow. It's applied the Drop Shadow, it's super. I can right click anywhere
in this kind of gray area. You can say, 'Copy Layer Style',
click on 'Smoothies'... right click it and say
'Paste Layer Style'. It's a simple but helpful little trick. So now I want to go and
recolor this thing. It looks like blood. It still looks like blood. So I want to make it
kind of banana colored. So with the layer selected here... I'm going to go to my Adjustments Layer... I'm going to play around
with Hue & Saturation. The trouble with doing this here... if I change the Hue, it's going
to change the background as well. So what I can do is,
see this little icon here? It's a little-- it's got
a really long name... but basically it says, only affect
the layer just underneath. So this Hue & Saturation layer is
only affecting my Color Splash now. So you can see, when I adjust it,
and you do those background colors on... the green and the blue looks
a lot nicer, but anyway... Hue and Saturation,
I'm going to pick a color... and what you'll find is, like yellows... some of the colors are perfect, right?
They just work really nice. Let's have a look at yellow.
Where is yellow? I can't find yellow, where are you? There you are. Not too green. See the problem with this is that... the yellow ends up being kind of brownish,
or in this case a little bit green. So what you can say, is you
can say, 'Colorize'... crank up the Saturation,
and then find a color. Close to it, but because of these dark
colors it's just not going to work. So what we're going to do is
go back to 'Adjustments'... and play around with the levels. I want to effect just the layer underneath
again, so just the Color Splash. And what we're going to
probably have to do... is just play around with these
grays in the middle here. So there's just not so much of
that dark kind of muddy yellow. Depending on what color
you need it to be... you might have to adjust around
with the darks and the lights... to get to kind of where you want it to be. But I'm happy enough with that. Now I'm going to select on this
layer here, and I want to shrink it down. So before I shrink it down... I want to convert it into a Smart Object
so that it doesn't-- So gets protected, right? Just gets
wrapped up and I don't lose resolution. So I'm going to right click it,
tell it to be a Smart Object. I'll use my 'Command' T for Transform. I'm going to get it to
an appropriate size... and now it's just messing
around a little bit of like... what I-- don't want to do.
Undo, 'Command T. Shrinking down, holding 'Shift'. Hold down 'Alt', or 'Option'
if you're on a Mac. Does it all from the centers,
but let's say I want something like that. I want it to kind of interact
with the background. Especially with Type, it's
probably just easiest to grab-- here's my super layer, right? Just want it kind of poking out in front
of the R instead of messing around with... selections and masking, and stuff,
I'm just going to cut the R out. Move this back, you see what
I'm going to do here, right? I'm going to duplicate this layer. Duplicating a layer, I can right
click it and duplicate it. Extra little trick, is hold down
the 'Option' key on a Mac... or 'Alt' key on a PC... and just kind of select and move it. Kind of makes a duplicate
as you're moving it. I'm going to grab the 'Type Tool',
select it all, maybe Left Align, capital R. Back to my 'Move Tool'. It's going to drag it behind my ink. We're not going to get too
fancy with masking this out... when it's easy just to separate
that text on to its own layer... to get this kind of interaction. Now to try and tie in all
these different techniques... we've used out of Color Range... we can open up our file
that we worked on earlier. It's this one here where we messed
around with the skin, remember? So what I'm going to do is I'm
going to select all of these... I'm going to right click any one of them
and convert it into a Smart Object... just so they're all kind
of smushed together. I can dive into it, remember,
by double clicking it to get inside... but really, just so that
it's just one unit. I'm going to drag it to our
little exercise here, here he is. Because it's a Smart Object
I can shrink it down... without kind of destroying
or losing the selection. And again I want to kind of lean on... one of the masking techniques we learned
in the earlier Essentials course. For the people that did that one,
this is just practice. I promise there won't be too much
of this through the course... but for the people just
jumping into Advanced... it's a trick probably you might not know. First up, with the 'Move Tool'... I'm going to hold 'Command Shift'
and square bracket... to bring it to the top of my layers. If you're on a PC, it's 'Ctrl Shift'. So square brackets,
they are next to your P key. So hold them both down, and the
left one sends it to the back. The right one sends it to the top. It's one I use quite often, just say,
all the way to the top, please. I'm going to grab my 'Ellipse Tool',
and I'm going to draw an ellipse around it. What I find is, people tend to use the... this Elliptical Marquee Tool
to do round selections... but it's not what I want, it's not better,
there is a better way, and this is the way. So I've got my image at the top,
I've got my ellipse just underneath... and if I hold down the 'Option' key... so with this top layer selected... the long way we learned in
the Essentials course... is we went to 'Layer', and we went
to this 'Create Clipping Mask'. It's going to show you--
that works, totally... but I'm going to show you the pro way. All you do is hold down the 'Alt'
key on a PC, 'Option' on a Mac... and just hover your mouse in between
these layers, you're looking for that icon. Not that, not that, this. Just click on it, and it
does the exact same thing... as going to 'Layer', Create 'Layer Mask'. It's just a real quick way of doing it. And the cool thing about doing this as a
mask is that these are totally separate. I can move my ellipse around,
or I can move my image around. I can select both of them
by clicking the top one... holding 'Shift' in the second one,
and just transform them both. And I'm going to get something like that. A bit lower down here,
I'll turn on my banana. Send them to the top using my shortcut. Scale him down. Now before I scale them down I'm going
to convert them into a Smart Object. You can leave now. Now I'm just kind of trying to turn
it into something half decent... in terms of the design. Which is going to be hard. There's that, blueberries. Where are
you, blueberries? Here you are. You need to come to the top as well. Might have to duplicate that,
remember our trick of... holding down the 'Option' key on a Mac,
'Alt' key on a PC to get two of them. Transform them or rotate them
so we've got a few extras. I might put that under the word Smoothies. Ah, creative genius. Duplicate that 'Super',
bring it to the top. This one's going to be 'Banana flavored'. It's going to be white text, thank you. Make it smaller, 'Command T'. I very often don't use font sizes... I'll use, just scaling it
to get the right font size. Depends really if we're working with
digital, or going to kind of print. print will have to be a little bit more
specific with font sizes probably. This is more of a splash
social media graphic. Cool. And last thing is, this here,
it is way down to the bottom... but with all the extra graphics. So I'm going to select this bottom one... hold 'Shift' and click this top one,
and you grab the whole lot. Because they're all in the Layer Masks,
and all on their own layers. Nothing smooshed together
because we're pros. I can lift it up. How impressed with this am I?
It looks kind of cool. Let's just say I did
a practice example of this... and it looks better than that one. So I'm happy. Don't think I like the color of the pink,
that my friends is a personal choice. Let's finish this here
before I waff along forever. The goal of this video
really was to show you... how you end up using kind
of combinations of tricks. Color Range is awesome, but only when
you start using it with other things... other techniques, other tips,
other shortcuts. That's when you go from
a beginner to an advanced user. So that's us, we'll leave it there,
let's get into the next video... where we'll set a project for you to do. I'll see you there. All right, it is class project time. Don't think of it as boring homework. Think of it as exciting ways
of testing your skills... because I promise you, following along
with me step by step is good... but I've taught for a long time, and the
people that take that little bit... of extra time to kind of put it into
practice with their own projects... are the people that will
remember it for a lot longer. If you do want to go even
further than that... the best way to remember it
for a very, very long time... is to teach somebody else,
maybe a friend, or family member... or back at work you might show somebody,
but anyway, the class project is this. If you go to your 'Exercise Files'... there is a Word document in there
called 'Class Projects', open that up. And here's the project we're working
on now, it's called 'Color Range'. Basically we're just taking this example
and making an orange version. So instead of a banana,
there'll be an orange one. So requirements are thus, the first
requirement is, use these images. They are in your 'Exercise Files',
under '02 Selections'... there is 'Class Project 01' in there. The files that you're going to use.
Use all four of these. Start with this background or pick
another background, I don't mind. I want you to do a selection, like we did
with the banana exercise, with this orange. There are two kind of paint splashes
in here that I'd like you to mask... using the techniques we did
in the last video... but I want you to make them orange. So make it orange flavored,
use your own fonts. I'd like you to show me an example where
the text kind of goes in and out. You see here, where the splash goes
behind this letter but in front of that. That's one of the requirements as well. You don't have to use
this image, you could... but when you finished it you can post
it as a project on this website here... or at the top here,
these are the kind of... like social media places
you can send them to me. So Instagram, Twitter, or Facebook group. The links are all in here,
in this Class Project. I'd love to see what you make, so
do the homework, send it to me. Let me know if you'd like some criticism,
I'll make sure it's friendly. All right, go off now and make
your own orange smoothie poster. Hi there, this video we're going
to look at adding a mask to a group. Basically we just add it
to this group here... so that things that are inside... you can see, are all just masked by
this one banana mask that we've made. We don't have to apply to
all the different layers. If you've done it before, there's going
to be a few extra little tricks... like a little Color Range trick. A shortcut for Blending Modes... plus we'll add some shadows to it to
kind of make it look more realistic. Lots of value in this one. We'll start with just the simple mask
and move our way through. To get started let's open up our files. It's in the 02 Selections
& Masking folder. We're going to open up 'Group
Mask 1', '2', '3', and '4'. Let's open all of those up. Now throughout this video you're probably
going to hear some construction... because I've been waiting all day
for them to finish... so I can record, there they are there. They are not going to
finish anytime soon... so we're just going to have a little
tapping and banging in the background. Let's start with the 'Group Mask 1.psd',
remember him? The banana, we use Color Range
to select him... and like we saw at the beginning... we're going to kind of combine
them inside that shape. The cool thing we're going to learn is... if you're on a Mac, hold
down 'Command' key. If you're on a PC, just
hold down the 'Ctrl' key. And if you click on the 'Mask', it loads
that mask back into a selection. You can see little ants running around,
which is cool. Another cool little tip you
might not know about... is you can go to 'Select' and
you can 'Save Selections'. Sometimes you've been like all day... kind of getting halfway through
a selection and then you have to go. You can actually save this thing. So I'm going to call it 'banana',
I'm going to click 'OK'. Because what I want to do is,
I'm going to go 'Select', 'Deselect'. And I'm going to turn that mask 'off'... so I'm going to right click
where the Layer Mask is... and say, let's delete that Layer Mask;
that hard work all gone. Don't worry because we've
saved it in that selection. So what do I want to do? Let's just get started quickly
so you understand the concept. So I'm going to go to 'Group Mask 2'... and my 'Command C', 'Command V'
doesn't work with this. It's always the bane of our life, right?
The locked one. So just double click the word
'background', click 'OK'. Now we can use 'Command C', 'Command V'. And we have far too big strawberries. I'll shrink him down, and I'm
just going to kind of put him-- where am I going to put him? About there to get started. Let's grab 'Group Mask 3', do the
same thing, unlock the background. Or you can just get it dragged
into the Tab option. I'm using the 'Command C', 'Command V'. Let's get it down to kind
of an appropriate size. I'm just doing halves in halves now. It's not going to look perfect yet. I guess I want to get the
concept through first... and then we'll go and finish it off. So I've got these two here. Now what we've done in the past,
and what you might have done like me... is you're going to add a Layer Mask
to every one of these images. So let's go to 'Select', 'Load Selection,
where are you, Load Selection? Go to 'Channel', go to 'Banana',
and there's my Selection Pack. So with that selection you have
that layer selected, and go, you... and then you do the same thing. I'm going to use that cool shortcut,
'Command'-click or 'Ctrl'-click the mask. Click on this layer, click on
Layer Mask, and it works... but you end up with like loads of these... and sometimes if you try to make kind
of a collage, you'll end up with... a zillion different masks,
and that's not the pro way. So we're going to go 'Step Backwards'
until all that's gone. What we're going to do is, I'm just
going to make a Layer group here. I'm going to call this one 'Banana Mask'. Not sure why I said banana that way. We're going to stick these two guys
in it, so select both of them... and just drag them and click
them on top of the folder... so you know they're in there. You know they're in there by you turning
the Eyeball on and off of the folder. And now the cool thing is... is with this layer selected, I can go
to my 'Select', 'Load Selection'... and 'Banana' click 'OK', and if I
apply the Layer Mask to that group... they're all inside there,
all happy in there. So it's just an easy way, now I can
grab the blueberries, drag them in. Go back to my old ways of
selection, can you see? Because it's just inside this group
they all just come along for the ride. You can skip ahead now,
we're going to do a little bit-- I'm going to show you some extra tricks... but if you came for the
masking on a group... and you're satisfied, you can move on. There's going to be some
cool extra tips coming.. So I'm going to delete these two guys. The strawberries are going to kind of
fill the background parts somewhere... somewhat like that. I'm going to go to my 'Group 3'. Now how would I select these guys? Color Range won't work because there
is like this white piff in the middle. Not sure what you call that stuff,
but it's the wrong color. So what we're going to do is use
the Quick Selection Tool... and I'm going to kind of
do a reverse selection. So I'm going to use
the Quick Selection Tool. I'm going to make my brush a bit bigger.. and Quick Selection Tool
be perfect for this. I hope, I've already practiced. That's pretty amazing, I'm
going to make it a Layer Mask. I go back to my Move Tool. And we go 'Command C' on
a Mac or 'Ctrl C' on a PC. Jump back to this original here,
and I'm going to paste it. Probably going to resize it
a little bit, before I do... right click where it says 'Layer 2',
make sure it is a Smart Object. So when I shrink it down I don't lose
that lovely resolution that's in there. Hit 'Return' on my keyboard. Let's now do the blueberries. We've played with this one before. I'm going to show you another
little Color Range trick. In the last video I was just reluctant to
make like a fifth video on Color Range. So I thought I'd throw it in here.
Let's go to 'Select', 'Color Range'. And what you can do is, watch this... if I click on the actual blueberries
and I click on +... and I add a few more to them,
and I try to play with fuzziness... that works to a degree,
and it worked really great... when we're doing our localized colors
because we just wanted these two... but when you want the whole lot... often it-- I'm going to go to this first
Eyedropper, click on the background... so in this selection we're going to be... selecting the background,
but then just inverting it. So I'm going to add the little +... I'm going to say, a little bit
of you in there. It's going to work for me perfect,
let's click 'OK'. If I mask it now though, it's the
wrong way around, so I undo. And just go to 'Select', 'Inverse'. Now I'm going to add my Layer Mask. There's a few little holes
in it from the white parts. We'll learn another
little trick in a minute. Go to Channel Mask, which will
really fix this one up... but for the moment we're
using the tools that we got. That's one worth mentioning, copy it. Jump back to the beginning here,
paste it, I'll shrink it down a bit. Here we go, Blueberry goodness. You can see here, some of the centers
are showing through to the orange. So I might just grab the 'Mask',
grab my 'Brush Tool'. Shrink it down. Paint it with white, just to fill in
these guys, nice and easy little drops. So that should be the end of this one. What I want to do though is I really
want to add some shadows to it. And when I was practicing-- I guess I want
to show you the trouble I ran into. You can skip ahead now, there's not
anything to do with masking left. Just want to show you that--
some shadows to it. Well, bonus chapter. So what I normally do, and we did this
quite a bit the Essentials course. Is I just grab this layer,
I duplicate it... by dragging it on to this,
like new layer icon here. Drag it to the top, come on, in there. Double click in here,
I'm going to call it 'Shadow'. Name at least two of my six layers. I desaturate it by going 'Command-Shift-U'
on a Mac, or 'Ctrl-Shift-U' on a PC. Or here's the long way, under 'Image',
'Adjustments', 'Desaturate'. Just gets rid of the color. Otherwise it looks weird when you
start using Blending Modes, right? Kind of colors everything. So if I desaturate it first... normally what I can do is just go
'Multiply', and often that works. Cast the shadows on the background. But because the photographer
of this banana... kind of spent a long time lighting it... and making it look great with
no real strong shadows... I'm messing them from what I need it for. So I'm going to have
to kind of accentuate. What I really want is this
line through the middle. I feel like that gives the banana
its banana characteristics... plus these little end pieces. I also want some kind of shading around
the outside to give it some volume. I'll show you the tricks
that I use to do that. So I've desaturated the layer. What I'm going to do is I'm
going to use the Burn Tool. Remember, the Burn Tool
makes things darker. You'll have to play around with
the range at the top here. I'm going to play with shadows. Exposures, I'm trying to see. You have to play around with these settings
depending on what you're working on. I've got a Brush size here, I'm just-- can you see, if I'm working with shadows,
just going to accentuate those shadows. I want... to really bring that out. I'll do the same with that.
I want that to be nice and strong. That's already probably fine.
I won't do him anymore. Because that's a strong line here,
I want to do the same for the edges. So what I'm going to do is
just make the brush bigger. Maybe lower the opacity a
little bit, or the exposure. In this case, the mid tones
is what I wanted to do. You can kind of see what I'm doing,
I'm just trying to like... give it some volume around the outside,
just clicking and dragging slowly. Maybe a slightly smaller button. Just to give it some depth. I'm not spending too long. So now we've got some
kind of strong colors. I want to get rid of the mid tones,
just want one of these black bits left. So the easiest way to
get rid of midtones... is to use Levels, with this Layer
selected, I'm going to use-- doesn't really matter if you use
Adjustments, or the other one. I'm going to use the Adjustment Layers... because we are being super professional. I'm going to make sure the levels
only effect of the layer underneath. So levels only affect the shadow,
by clicking that button there. Now I'm just going to work with this. Not to make it look better,
but to try and get rid of... the kind of mid tone grays. You can see, just yanking
up this white slider here. Playing with the gray slider. Darken this up, so this is
what I'm trying to do, right? Just add shadows. Cool. Now I'm going to click
on my 'Shadow Layer'... and then just work with the Layer Modes,
and figure out which one's going to work. Let's go to 'Multiply', you can see
it there, Multiply is quite good. I'm going to work my way through... and if you are like me, and you hate
doing this, have a look though. Going through them all, going... "Man, this takes forever,"
you just don't, right? So the shortcut for cycling through these,
it's a cool little shortcut. You have to be on your Move Tool though. For some reason that only works
when you're on your Move Tool. And you hold down the 'Shift' key
on your keyboard, and tap '+'. + again, + again, so holding down 'Shift',
tapping '+', that's Mac and PC... just cycles through them.
Super useful, helpful tool. Now I'm actually looking,
so Multiply's is good. Linear Burn's okay. Should really have checked
this before you watched. Let's turn it on and off,
can you see what I mean? I want to kind of add that
little bit of realism in there. One last thing before I go... I've just noticed that this is
kind of spilling over here. So I'm going to click
on my 'Layer Mask'... and because they're all
in the same group... hah, ties it back nicely. Nice work, Dan. We're going to 'Layer Mask',
make sure black is my foreground color. I'm going to make the brush size
nice and big, and fluffy. I'm just going to kind
of ease it in there. There you go. Good reflection. So thanks for hanging around
for the bonus shadow section. A really simple thing
at the beginning there. Just putting a mask on
an actual layer group... and then throwing everything inside of it. All right, that is it, let's get
into the next video tutorial. Hi there, it is time for another
selection tool in your arsenal. And it is the mighty Channel Mask. It's been around a while,
and it's perfect for when you need... to select, say out of focus
grass like this. There we go, easily done... but let's say you already know
how to do a Channel Mask... don't worry, there's some stuff
in here for you as well. Imagine if there was a brush
we could just kind of... like paint across and remove
all the ghosting. It is true, my friends, this brush exists,
and I will show you in this next tutorial. Let's get in there. It's getting better,
we're going to love the brush. First up, let's open up our files,
they're in our '02 Selections & Masking'. And it's all of these guys,
it's Channel Mask 01... all the way through to 05. Quick little tip before we get going,
if you hold down 'Ctrl'... and hit 'Tab' on your keyboard... you can cycle through the
open tabs along the top here. That works on both formats, Mac or PC. What we really came here for
is Channel Mask. Just quickly before we get started... up until Photoshop released
the Select Subject... and the Select & Mask function... all I did for kind of advance masking
was Channel Mask... the thing we're going to do now. Because these two options that
we learnt previously are so good... I don't use Channel Mask
half as much anymore. Basically I use them for the
same sort of principle. I need kind of like... say this kind of out of focus,
what would normally be here... but this, these two here in combination
are so much better now, in my opinion. The reason I still use Channel Mask... and the reason I still include it
in this Advanced course... is because, if we click
'Select' 'Subject'... It tries to find a person's face,
and there is no face to be found. So couldn't find subject, click 'OK'. So there's times where I just need to--
I want to select all this grass... but it's super hard, right? Quick Selection Tool
is not going to do it. Magic wand's got no hope. I might do okay with a Color Range... but there are some perks to a Channel Mask. And you need it in your arsenal
to be an advanced Photoshop user. You don't want to turn up at the
Advanced Photoshop party... and not know what a Channel Mask is. Even though it's getting useless
it's kind of those badges of honor... like, I think the Lens Flare
was when you're new. So how does this work?
I'm going to do it super quick... half to impress you, half to show you
how quick it is once you know the-- once you get into the flow. Then I'll back it up and go
a bit more step by step. So basically we go to the Channels Panel,
we pick one of these three. The one that has the most contrast,
blue does. So I'm going to right click it,
duplicate it, click 'OK'. Turn this on, that off,
then we use levels. And I'm just trying to
accentuate the contrast... between the background and the foreground. I'm lifting this up, trying to find
this kind of medium ground here. Let's click 'OK', I can blot in
the stuff at the bottom here. I'm using my 'Paintbrush Tool',
set to 'Normal'. I'm using black, making it nice and big. I'm just going to kind of paint it all out. Get a bit smaller and get
some other stuff in there. Spend a little bit more time. I'm not, turn it into a selection. Go back into my Layers Panel
and add a Layer Mask. First of all, reverse it out, invert
the selection, add a Layer Mask. And you can see that will totally kind of
freak you out, how fast it went there... but I guess I just want
to show you the flow... that I'm going through when I'm doing... selections for something like this,
and how easy it can be... because when I teach this live
often people freak out... because there are quite a few steps. Don't worry, you won't probably
remember them off by heart. I only remember them because I'm a trainer
and I have to teach it all the time. When I wasn't, when I
was just freelancing... I would go "Okay, Channel Masks,
they're good." Come back to this video, and just run
through it every time you need to do it. And that's just the way it is,
there's a few steps involved... but the results are pretty cool. Let me grab this... and add it to the background here. You can see, a pretty convincing mask... with very little effort put
in to getting it perfect. So let's back it right up.
I'll show you a cool little trick. It's 'File', 'Revert'. Because we only have so many undos, right? So if you go to 'File', 'Revert'... it goes all the way back to when
the document was last saved. And in this case it's way back
before I did all my channel madness. Let's look at it step by step
and explain that a little bit. So it's channels that do
the heavy lifting here. Basically a channel is just--
this document is RGB... you can see it up here in the tab. And that just means the computer
makes all of these lovely colors... out of a mixture of red, green, and blue. Now we're really not worried
about channels at the moment... we're just going to use and abuse
them to get our selection. What you're doing is you're looking
through all three of these... for the one that has the most contrast. In this case blue has a really clear
contrast with the background. It's not always the case,
sometimes it's red, sometimes green. So toggle through them all. Once you've found one
you've got to duplicate it. Right-click it, 'Duplicate Channel'. I'm going to call it 'My Mask',
for no reason. And I'm going to turn it on,
and turn that one off. I don't want to destroy
the red, green, and blue. I just want to work on this,
my special little mask. We're going to delete it in a second. So with it selected,
we're going to go to 'Levels'. So 'Image', 'Adjustment', 'Levels'. We're not going to use
the fancy adjustment levels. We're going to use old school,
destroy the layer levels, these ones here. And all we're looking to do is,
you can see the sky here... it's quite gray still, so I want
to kind of increase the whites. Basically you can adjust
these guys any way you like. All you need to do is have a
really strong white versus black. So that's all I'm doing,
drag them left them right to see... like if I go too far this way,
it starts kind of bleeding in. There's a little bit of like,
I've done it so many times... that I kind of got a good feeling. What you might have to do is
get to this point, and say... "I'm going to try this, and then
come back if it's not quite right." I'm going to crank the blacks
up just a little bit as well. And I should point out-- I'm looking at the edge between this
and this, I'm not worried about here... because, you saw it earlier on... it's blacked that in
with a big paintbrush. It's this edge, this contrast between the
background and the foreground here... that I want to, I guess
get as sharp as I can. It feels okay. Click 'OK'. Now what I want to do is kind of
fix this bottom stuff here... because I'm going to use my paintbrush. Set it to black. What kind of hardness? Somewhere in there, '80'. I'm just going to paint this in black. I'm going to do this to--
down the bottom here, quite rough... and then as I get closer
I'm going to lower my brush... and get a little bit nicer
about the whole experience... because I know that that is
not a hole looking through. I know that's the sky... but I know this is just light
that's reflecting on the grass. So I'm going to go in here and just
kind of fix this up a little bit. We'll go through in-- After we do this exercise, I'll show
you a few extra little tricks... to tidy this up a little nicer. You saw the end result here,
I put in less effort. And it came in still
with a really good result. Channel Masks are awesome. So I got the basics in there. Now what I want to do is
load it as a selection. You can click on this little icon
down the bottom here. And it loads that black
versus white as a selection. Now this guy here is---
his job is done. I click on 'RGB' to turn all of these on. Just make sure the eyeball is off
on the mask, or you can bin it. Like we just don't need that anymore. People get a little caught up on
that channel being part of it. Really we just used it to get
our little Marching Ants here. Back to 'Layers', at the moment
we have this sky selected. It really depends on your image. Sometimes you lever the right way around,
sometimes you won't. If I click on 'Layer Mask' here,
it's the opposite. So I'm going to go to select this. Now add my Layer Mask. And hey presto, you can see it was
pretty bad along the top there... but it's still a pretty good mask. I'm going to grab my 'Move Tool'. I'm going to go 'Command C',
'Command V' on my Mac. Actually I probably do
the other way around. I'm going to drag you, here. Use my little shortcut,
'Command-Shift-Square bracket'. 'Send to Back'.
'Ctrl-Shift-Square bracket' on a PC. You can see, a pretty convincing mask. Let's look at a couple of other things
you can do with Channel Masks... to get the most from them. Let's go to 'Channel Mask 3'. And I'll lie, we're not going to do
Channel Mask 3 together... because it's very similar
to this first one here. I'm going to set that as your
homework in the next video. You can do it now onboards if you want. What I want to do is, let's go to
'Mask', 'Channel Mask 4' and '5'. These are the ones I'm going to combine. You saw them at the beginning. We run into the same problems,
we can't use Select, Subject... but we're probably going to use
a little bit of Select & Mask... just to kind of push this
a little bit further. So same thing as before. Channels, I use these shortcuts here. If you're on a PC, is it Ctrl 3, 4, 5?
Check whatever the shortcut is there. I'm going, holding down my 'Command' key
and going 3, 4, 5. I'm not looking, just toggling
through them all, just seeing. And don't worry about down here... you're looking at the transition
between the sky and the background. And they're all really similar actually
because the background's pretty much white. I feel like... that's my one. You could argue on all
the three of those ones. So I'm going to duplicate it. Duplicate, oh, don't delete it.
Duplicate it. Can we give it a name?
I'm not going to give it a name. Because we're going to
bin it in a second... so nobody's going to know
we didn't name our layers. So 'Blue copy' selected,
all the rest of them off. Otherwise you get this kind of
weird colors going on. Make sure it's selected, and remember,
we're going to go to our Levels. And we're just looking to increase this
contrast, so I'm going to zoom in a bit... and I'm just looking at-- if we go too far you'll end up with this. It bleeds over the edge,
and looks not very good. So I'm going to increase the white
a little bit to get the sky pure white. I feel like that's a pretty good one. Looks like it's pretty strong
black versus white. Click 'OK', zoom out, and I'm
going to blot in the bottom here... using my Brush Tool, nice big brush. I'm going to add a little bit extra
to this one, I promise. So we've got a selection,
we're going to load it as a selection. We're going to click on 'RGB',
you can leave that there. There's nothing wrong with leaving
it there, click 'Channels'. 'Inverse' the selection, I'm using
the shortcut 'Command-Shift-I' on a Mac. That's 'Ctrl-Shift-I' on a PC. And I've applied the Layer Mask. Now let's go and add it to our background. So actually going to bring this guy in,
the other one, so 'Move Tool'. You come in here, friend. Want to know a cool extra little shortcut? You don't have a choice,
I'm going to show you anyway. When you're dragging from one image
to another, and you kind of like... ends up in a weird places, right? If you do that exact same technique. So 'Move Tool', drag drag, hold,
hold, I'm holding the 'Shift' key. Then let go, and it doesn't
put it willy-nilly... it puts it exactly kind of top left. Really handy, okay, moderately handy. I'll move it underneath. And you can see,
it did a pretty good job... but because I've gone for
such an extreme background... it's gone from light to dark... you can see, they're kind of
ghosting around the edges. So I'll show you two ways of
fixing this type of thing. One you've learned before, one you haven't. So I'm going to click
on my 'Layer Mask'. Even though we started
with a Channel Mask... we delved into the channels,
and messed around in there... we can still click on the 'Mask'
and go to 'Select & Mask'. I'm making sure mine's against on black. And you can play around with the radius... and in this case here, Shift Edge
is probably going to work. It doesn't work great though, works kind
of too far down into the image here. So I'm going to hit 'Cancel'. What I want to do is show
you a cool little trick. And it's to use your paintbrush,
the B key. And just switch it from
Normal to 'Overlay'. I'm going to make it an
appropriate brush size. I'm going to make it kind of fuzzy there. Make a little bit bigger,
and try and impress you. Look how good that is. I loved it when I found this option. Instead of trying to control
it all with Select & Mask... you can just use your Brush
Tool with Overlay... and just kind of tidy up the edges. It doesn't have to be a Channel Mask
you've started with, can be with any mask. All it really does is gets
rid of the kind of... in between zones, so let's undo
that and kind of have a look. If you hold down the 'Alt' key on
a PC, or 'Option' key on a Mac... and click on the 'Mask', it just
shows you in black and white... which is handy, right? I'm on 'Overlay', I'm on 'Brush Tool',
black is my foreground color. And watch this, can you see... just like shrinks it in, or at least
gets rid of the kind of gray areas. Can you see this white here in the middle,
and there's black there... but there's this kind of
like little bits of gray. And that's what the Overlay
option is doing, as a brush. I'm going to zoom out. I'm going to turn. I'm going to hold down 'Option' key
on a Mac, 'Alt' key on a PC. Go back in here, and just
kind of fix that up. One thing I might want to do as well,
is you can use that same key. I'm going to go back into here,
you can see there's some like... you see, all this kind of gray area
down here, you can do the opposite. Just flick it over to white. Make an appropriate Brush size, you can
do some pretty kind of easy fixes. You can see, you can get quite close
to the edge without wrecking it. If you're just using a white paint brush
it can be a little tricky. We're trying to go fast. This tool is perfect for it. Tidy it all up. Jump back out, back in,
looking pretty cool. So that's going to be it for Channel Mask,
actually, one last bit. Let's use that same little tool, back here
at the beginning, click on the 'Mask'. And we're going to use our 'Brush Tool',
Overlay, I've set it to black now. And I'll lower the opacity
just a little bit. If you've got the Brush Tool selected... the opacity, you can drag
it down, that's fine. But cool little trick is just
to tap '2' on your keyboard... '4', you can see it's
changing up here, '6', '7'. I'm going to lower down to maybe 30%... and just kind of work
these edges a little bit. There's a couple of fluffy bits
that maybe aren't super realistic. And now we're actually finished. So that is a Channel Mask. Maybe bookmark this video. I know,
when I was learning Channel Mask-- They're super cool, but really
hard to remember what to do. It's quite process driven, there you go. Let's get on to the next video. All right, I've got an exercise for you
to practice with, also a shortcut. Now I'm not sure if this is Mac or PC only,
I don't have a PC here to test it on... so leave a comment to let me
know whether it works on PC. So I've got my Finder open here on my Mac. And I want to open up the project file,
so 'Class Project 02'. I want to select both of these... and what I'm going to do is I'm going to
start dragging, hold down 'Command Tab'. 'Command Tab', but if I
just hold 'Command' down... and just cycles through
all the open programs. And before I let go, to go to Photoshop... I'm just going to drag it
into it and let go. Is that a shortcut? It is for me,
maybe it's not for anybody else. You can also do the same thing -
if I undo - by dragging it down here. Just dragging it down
here into the dock... and into the actual icon for Photoshop,
that works as well. But I'm hoping this whole thing
works for PC as well... because I know you can hold down,
maybe the Control key and hit Tab to do it. You'll have to help me out because
I couldn't find it online. Anyway, we've got the things open. What I want you to do is mask,
using your Channel Mask amazing skills. Mask this thing out... and stick it in front of the Sunflower. Let's look at the requirements,
use those images, cut out the-- We'll use the Channel Mask
to get started... but you can use the Select & Mask,
and the Brush Tool. Remember, we set it to Overlay
to kind of fix the edges. You'll have to adjust the levels
of probably the grass or the background... just to get them to look believable. Then take a screen shot
and share it with me. Either in the projects here or on
social media, which is all at the top. Good luck, advanced Photoshop user. I will see you in the next video. In this video I'm going to show
you how to click two buttons... Select and Focus Area It's great for selections because it's
a blurry background, sharp object. It does a pretty amazing
job of just grabbing it. There's a little bit of work to do... and I'll show you how to
do that in this video. I'll also show you how to
take that same selection... to kind of use something in focus... and turn it into an Adjustment Layer. You can see the hydrant there,
just kind of... instead of masking it we're
using it for Adjustment Layers. I'll also show you some harder things... where it's in focus and out of focus,
but the hand's not... but I'll show you still how
to get a good selection. I'll show you when it goes
absolutely horribly wrong... and you end up with stuff like this. And how to get around it. Then at the end we'll do a little
project where we cut this out... and we stick it on to this background. See me, believably. Look at that, they're shadows and all. You and me, my friend, are going to
continue on the Selection Path... and learn how to use Focus Area together. Let's jump in. To get started let's open up
the files we're going to use. It's in '02 Selections', and go to
'Focus Area 1' to '6'. Open up them all. So we're going to start with 6, I want
you to be prepared for amazingness. The reason this works
is because there is... a really shallow Depth of
Field; background's blurry... but the subject, in this case a flower,
is in focus, so works perfect. What we'll do is work our way through. I've got some ones that are really easy,
through to the ones that are quite hard. Now also note that this
technique is just the starting. Like remember, Subject was great... but then we went to Select & Mask
to fix it up. It's the same for this technique,
it does a lot of that heavy lifting. 80% there, and then we use
Select & Mask to tidy it up. So kick back, relax, and be amazed. Now you can see the edges are a bit off,
we can fix that up with Select & Mask. You can jump straight to that
from here, which is cool. You might have to adjust the Focal Range. So lower is a bit more exact, so it's
looking for sharper parts of the image. If you raise it higher, it's a
bit more forgiving, and goes... "Do you mean this, this, and this?" This one's pretty easy
because it's very clear. Background's very blurry, foreground
is very sharp in comparison. Things you will have to do is,
you can see here... it doesn't really know what to do
with this thing in the middle. So you've got these two options,
you can add to the selection or remove. So basically think of this as
the Quick Selection Tool... we looked at it earlier over here. So same technique, you don't have
to like paint it all the way in... just kind of click a little bit... and it goes off and tries to race
around and find what you mean. That's pretty much all
for this particular one. Let's click 'Select & Mask'. So now we're back into that window
that we've used quite a few times. It's over here, remember,
our global changes. We can use our Fine Brush,
so whatever you want to use now. In this case, Radius around the edges,
it's doing a pretty nice job. I'm viewing mine against, what is it? Is against white, is it against black?
Not on black. Sorry, 'On Black'. Looks nice, On White, looks good.
Awesome. And what am I going to do
with it when it's finished? I'm going to output to a Selection, no,
I'm going to output to a Layer Mask... and then click 'OK'. Let's look at some harder ones,
let's jump to 'Focus Area 2'. Now you don't always want to make... a complete mask like we
did in this one here. Sometimes we just want to grab an area... to play around with
things like the levels... or change the colors, so let's
do the same technique... but let's look at using an
Adjustment Layer instead. It's the same technique,
'Select', 'Focus Area'. Kick back, relax. You can do the adjustments here. It's pretty good,
I'm going to add that bit... and use minus '-' to minus in there. Think of it, remember, like
the Quick Selection Tool. A little bit down here to add. It's couple of bits down here. If you find it hard to, like check
what's missing, what's not... play around with these different ones,
so On Black, Overlay. Just try these different ones so you
can see clearly what's maybe missing. And say White On, Black on White,
it's pretty good here... so I'm going to add that,
I'm going to add that. And we've got a good start. You can play around with
Soften Edge, and it does... but it's just kind of like,
it's just a one tick... where you can go in to Select & Mask... and because we are super
advanced awesome people... we get to use all of these
features to make it quite sweet. So which one am I going to use? On Black looks pretty clear, and Radius... yes, it's working nice. Maybe just smooth it out a little bit. You don't see me using
Feather or Contrast much... it's just preference, have a play
around with them, it does... and going a bit high, but it
kind of feathers the edge... that might be exactly what you need. There's no right or wrong really in here. The cool thing about it is there's only
about 6-7 options to play around with. So experiment on your own. When it's finished, instead of
going to a Layer Mask... what I'm going to do is,
I'm going to say... stay as a Selection,
because-- let's click 'OK'. Now it's just a lovely selection... Now if I go to my Adjustments Panel
and say, do levels or curves... if I do levels, you can see it
turns my Selection into a Mask... on my Adjustment Layer, which is levels,
hasn't touch the background now. So now with the levels
here I can go through... and it's going to kind
of balance it out a bit. I want to be really subtle
in these tutorials... but it's hard when you're being subtle... because you can't see what I'm
doing on the video often. You can see what I've done there,
I've just darkened it up a little bit. I just wanted to show you an
extra way of using Focus Area. Grab the stuff that's really
close and really work on it. Maybe the same thing with vibrance,
instead of levels, or a bit of both. Now let's look at some problematic
abuses and how to get around them. I find this is the most valuable stuff... because not always you're going to get
a perfect kind of flower on its own. So Focus Area 3, this image has--
probably the biggest problem is... that it's got a really high ISO or grain,
that is kind of in the image. So it's kind of all over it,
so it does find it hard... to break away from what is sharp,
and what is blurry, because of that grain. So I'll show you a couple of
ways of getting around it. Let's go to 'Select',
let's go to 'Focus Area'. If you can hear 90s dance
music in the background... the construction workers that
have left from yesterday... have now been replaced
with shop fitters... who love the 90s dance anthems,
which is cool. Not so good for you and me, recording,
so enjoy the backing music. You probably can't hear it,
it's probably just me. You can see here, under,
against white or on white... it's just kind of grabbed this. This is the only bit I could
really find that's really sharp. You might find, with a really
grainy image... that this image noise level,
kind of up and down, will help. Drag it up, drag it down,
see if that fixes it for you. I'm yet to find it useful
for me too much... but I should show you because
I haven't used it enough... to say it's like good or really bad. Given adjustments and easy slider,
so what we're going to have to do is... there's just a big chunk
of hand missing... and the options up here are,
On Black, Black and White. So it's not very handy to know
what else I need to select. The only one that really works is Overlay. Overlay allows us to see kind
of a ghost of the background. There's no kind of opacity slider
like we have in Select & Mask. So just pick 'Overlay'... and then let's grab the '+'... and I'm just going to kind of click along
and let Photoshop do its magic. Oh, Photoshop! You're so good.
Look at that. I just do little bits-- freaks out
my computer a little bit... but also... squeezing the Quick Selection Tool,
I find... doing smaller little chunks is easier. This bit here is a little harder. Minus, '-'. Hold down the 'Option' key on a Mac
instead of coming up here to minus... or 'Alt' key on a PC
to change it to minus. We're not going to spend
too much longer in here... but there's two ways of
kind of working through it. You can play around
with the noise level... but also just add and
subtract to the mask... and it's easiest done
when you're on Overlay. So I'm going to go to 'Select & Mask'. I always go through Select & Mask
to tidy it up... you might go, "No, I'm just going to
go straight to being a Layer Mask." Awesome. Job done, and you're
happy enough with it. And then later on you might come back
and click on the Mask. And then go to Select & Mask to get
back to where I kind of go directly. I'm going to smooth the edges,
maybe Smart Overlay... and in this case I'm probably
going to need to use... not this first one, not this one here... I'm probably going to have to use
just a plain old Brush Tool... because this bit here, the computer
is not going to be able... to work out the difference
between the background-- Let's go back to 'Marching Ants'. Actually, because we're in here we can
lower the opacity of that black, on black. Just to make it easier to see
what's in the background here. And because we've got
this Brush Tool here... I make it bigger, hardness is... I like it between 85 and 95. And hold down the 'Option' key
and just kind of paint it out. Maybe the fuzziness needs
to be a little bit lower... or hardness needs to be lower. Just to give it that kind of
blur with the background. There's probably this one down here,
actually I'm okay with that. It's pretty amazing. There's a hole in the middle, if you
are getting through this course... you're like, "I can't remember, how
did you do the red thing, again?" If you're on a Mac, hold down
the 'Command' and 'Option' key. Just hold them down, and then
click and hold your mouse... drag left and right, up and down. Gives you size and hardness. If you're on a PC, it's a bit weirder. Maybe not weird, it is hold 'Ctrl' key
down on your keyboard... and then with your right mouse key... like the other one that you don't
use very much, the right click... click and hold that down and go
left and right, up and down. So I'm in here, I'm going to go-- This one here, so just
using the Paintbrush... I'm going to use the
Quick Selection Tool... because instead of trying
to paint it out... because it is very clearly
different from the rest of it... I can just kind of click once in there. Nice. Let's click 'OK', and a pretty sweet mask. Let's get into 'Focus Area 4',
where it really doesn't work. So we're going to go to 'Select',
we're going to go to 'Focus Area'. We kind of see that it is, but it's
got that grain problem again... where a huge amount of grain in here... but it's making the background and
foreground quite consistent... and it just doesn't work, and I'll
show you a way around it, kind of. Let's go to 'Focus Area',
kick back, relax. Let's just go to here, it's okay. You just want to fix it in here... you just need to, because this
is a person, or a human... it works better with 'Select', 'Subject'. 'Select', 'Subject', kick back, relax. Come on, Select, Subject. You can see there; magic. So I'd start with this
and add my Layer Mask... with it selected go to 'Select & Mask',
and tidy things up. We did that in an earlier tutorial,
I guess I wanted to show you just... sometimes Focus Area doesn't work... you might have to look at
different ways of doing it. We've looked at a few sections already. Channel Masks and Subject. Now the last one we're going to do is,
we're going to cut this out and stick it... like a proper project, rather than just
looking at it, and here is a mask... we're going to combine stuff
and just look at a few. Tie together some stuff we've already
learnt, and turned into a little project... so that in the next video
I'll set a project of your own. So do this with me, and then in the
next video you can do it by yourself. So I want to cut that out, stick it there. So to do that, same thing. It looks like it's clearly going to be
good for the technique we're using... which is the 'Select', 'Focus Area'. Now I'm going to switch it to On White. Yes, On White's probably good,
or On Black. On White's probably going to,
it's a little bit clearer. Now I'm going to have to minus
some parts out. Brush Hardness, down a little bit. It doesn't really matter that much
when using the Quick Selection Tool. I've got the basics in there,
and that's pretty cool, right? Focus Area, you rule.
Let's go and fix it up a little bit. Let's go to 'Select & Mask'. It's pretty good. Comparing it against white-- I'm going
to turn up the Opacity now to 100%. White versus Black. Like a white's probably a better example... of how good the selection is
especially on the side. First up, I probably-- let's just see how we go with a little bit
of Radius and a little bit of Smoothing. I'm okay with this,
really fixed up these edges here. Remember, I'm going to zoom in. Hold 'P' key down on your keyboard. That's the original, actually don't
hold it down, just tap it. On, off, on, off.
Pretty amazing, huh? The other thing I want to
do is-- those are actually...ss. part of the original, right?
If I turn those down... they're actually just part
of the original image... but I don't want them
so I'm going to go to-- these are the tools that are
not going to work, right? The Refine Edge Tool, because
it's such a solid thing... it's just not going to
do what I need it to do. So I'm going to undo a couple of times. I'm just going to use... just a plain old paintbrush. I'm going to pick a size and hardness. Something about there, hardness. Trying to match the hardness
of the edge here... of what's already there in focus. If you are sick of that shortcut
with the red thing... you can just do size
and hardness up here, right? But I am now going to hold down
my 'Alt' key to turn it to minus. Just to kind of tap these things off. Bit of manual labor,
can't be avoided sometimes. I'll speed this up because this is
painful to watch. So that's going to work
for me, I really like it. I still want to go and fix a few
of these little edges. It's the beads of water
that are on the edges... have given me lumpy kind of sides. Photography trick. I don't do the photography much,
I do a lot of the retouching... but never keep it in the fridge
because it ends up sweating... and leaving big pools of water when
you're trying to photograph it. So what tends to happen is-- one of the tricks that we've worked
with lots with food photography... is you leave it out... it's pretty much off in rank,
but if you cover it in hair spray... it looks wet, moist, and new... and doesn't drip water beads everywhere. Kind of preserves it for a while
so hair spray is a good trick. But we've got our mask,
we want to output it to a Layer Mask. Click 'OK'. I want to add this to Focus Area 6. We're going to use our trick
where we go to Move Tool, and just go... 'Command C', 'Command V'. Kind of brings through the Layer Mask. So it's in, it's not super believable,
but it's pretty cool though. I'm going to do two things before we go. We'll add a Layer Mask, and one of
the obvious problems is this glass. I'll show you a quick little trick for it. Let's do the Drop Shadow first,
we learned this in the Essentials course... but we'll just recover it here
for the people that didn't do it. It's pretty fancy, well I like it anyway. So I've got this layer selected,
I'm going to go to 'fx'... I'm going to say, I'd like a 'Drop Shadow'. Not worried too much
about this Drop Shadow... except I want to see it. Like that's not a realistic Drop Shadow,
I know... but it's mainly just so I can
see what it looks like... and play around with the opacity... the size, how fuzzy it is. That's going to work for me.
Click 'OK'. You're like, "That is terrible." But remember, the people that did it,
you know... you can right click the
word 'Drop Shadow'... and go to this one that
says 'Create Layer'. It's cryptically named,
basically it means... I'm going to yank the Drop Shadow off
as an effect... and look, there's its own
shadow on its own layer. I'm just going to move it around. It means that we can go to 'Edit',
'Transform', and go to 'Distort'. I'm just going to use the shortcut
because we're in the advanced class. So hit 'Command T' on your keyboard,
if you're a Mac, 'Ctrl T' on a PC. Then just hold down the 'Command' key
on a Mac or 'Ctrl' key on a PC... and instead of it just
kind of like doing this... you hold down the 'Command' key
or 'Ctrl' key on a PC. It just distorts it without
having to go to... the official 'Edit', 'Distort',
it just kind of does it all for you. So what I'm looking for now is for
the shadow on both the Focus Area. Focus Area 5, you can see there's
a big shadow cast this way. And in here it's pretty neutral. The photographer has probably
composited this background anyway. So, because there's lots of freedom to
decide where the shadow's going to go... so I'm going to Transform it,
and move it around. I'll try and get the base of it there. How realistic this is going to be? Where's the light going to be coming from? I don't know whether it should be kind
of coming from this way or this way. Ah, looking awesome. It's okay, I'm going to hit 'Return'. Now what I'm going to do is
I'm going to do couple of things. One is, on this layer here
I'm going to play with a different-- it's defaulted to Multiply. So I'm going to go through
and just pick another Blending Mode. Remember, holding 'Shift' on my keyboard,
make sure you're on the 'Move Tool'. Then tap the '+' key, and it just cycles
through the color modes over here. That at least gets you close
to where you want to be. I cut like that, but
it's probably not very-- I do like what Linear Burn
does to the wood. Can I find anything else that I like? No. Maybe a Linear Light, I like... but it needs to be kind of reduced... especially out here where
it shouldn't be... it should be kind of maybe dark
in here but not further out. So what I like to do is just add
a Layer Mask to the Drop Shadow. Make sure you're working on your mask. Grab your paintbrush, just your B key. I'm going to make sure that
my Blending Mode is normal. We played around in an earlier tutorial
to change it to Overlay. And in terms of the opacity I'm just going
to kind of like remove parts of it. But I want to turn the opacity
of that brush down. We're going to use our shortcut
along the top of our keyboard... just remember 1, 2, 3, 4. So maybe 30%, you see
the opacity changes, 40. I'm going to practice. So I'm just going to
kind of build this out. Maybe even lower, 10%, just kind of
clicking and dragging, and working it. Especially maybe over here. At the back there, I'm trying
to make it look realistic. I'm okay with the shadow,
maybe needs another bit of blurring... so you can click on this,
then go up to 'Filter' and use 'Blur'. We're going to do Blur later on... but don't worry,
everyone uses Gaussian Blur. So do I. You might just blur it up a bit more. So one of the other big
obvious things I can see... is that it's just got a blue cast to it. This background's got quite
a warm yellow feel to it... whereas this has got quite a blue cast. It's making this stand out too much. So with this layer selected
let's even name it, let's go crazy. 'Smoothie'. And with it selected
let's go to 'Adjustments'... and I'm going to use Color Balance;
which one is you? There he is there. Second, line sticking in, and I'm just
going to shift the blue to yellow. Now at the moment it's doing it to the
whole thing, so if you click on this... remember, it says, I'm only going
to affect the layer just underneath me... which is Smoothie. Now I'm just going to kind of
warm it up, turn it on and off. On and off, yes, getting there,
so maybe a bit more red than cyan. A little bit of green for
that green Smoothie. Do you like it? I feel like
it sits in there a bit nicer. Next thing I'm going to do
is fix up this glass. It's like really bright
compared to the background. It's not showing through any texture... and you'll run into this problem
with glass, glass is tough. I'm going to do kind of a caveman fix,
I want to show you what I would do now. So I'm going to zoom in. What I want to do is work on the mask. I'm going to use my paintbrush. I'm going to make a nice small brush. I'm going to have the opacity
at maybe 20%. How hard is it going to be?
Hardness at 0, I want it nice and fluffy. So what I want to do is-- I'm going to leave a lot of the whites,
it's this gray stuff. The blacks are good, the whites are good. Often when you're working with glass... it's the Mid Tones that
are the background. So I'm just going to
caveman it and do this. I'm just painting it out. So I'm just kind of painting it out
in little parts. Why? Because it's showing through
the background a little bit... bringing through that kind of
ready Okla that's in there. I'm just making the glass
a bit more translucent. Total cheap trick rather than
getting too complicated about it. Changing the colors and stuff would work... but if we put it on
a different background... at least this technique is going to
show through the background a bit more. I might remove a little
bit of the glass as well. I mean the highlights, just to kind
of lighten it up a little bit. To show you what I mean,
remember, we can hold down... 'Option' on a Mac, 'Alt' on a PC
and just click on the mask... and just see what I'm doing here. It's pretty primitive, but... you can see, it's just that,
now kind of blend in a bit more. If I move the background,
give it a name... you can see, it just kind of
moves there and kind of... takes on a bit of that background
through it, and that should be it... but this bottom down here
is annoying me as well. There's like a weird reflection that just
wouldn't happen on this desktop, I feel. So you could work on the actual image
and maybe darken it. I'm just going to work on the Layer Mask
because I don't want to destroy the image. Do the same thing with my Brush Tool. I'm just going to kind of lower this
a little bit, just the bits I don't like. Even though, would kind of peek through. All right, how much do I like it? I'm pretty happy. I'm okay with
finished shadow doing weird stuff. One last thing, I know there's
just one last thing but I-- Weird thing that happened,
I created a new layer... and because it was in between
my Adjustment Layer and the image... kind of did this weird thing
where it became... what's called a Clipping Mask for
this image, that happens all the time. Just drag underneath, make sure
that is still using this option. Connected to the bottom, and my layer
here is going to be 'Extra Shadow'. I always find believability in doing just
a little bit of black paint brushing. So 'Brush', I'm going to have Opacity
of maybe '50%', I'm going to use black. Another shortcut for you is, see my
foreground and background color? One is blue, one is white. So you can click on this to force it
to go black and white... but you'll see, there's my shortcut
given away, 'D' key. So if I hit 'D', just sets it back
to the default, black and white. X key toggles between the two. See over here, X goes foreground
and background color... and D just sets it back
to black and white. So here we go. I'm just going to add this
on its own layer. You can see, it's kind of okay, but I
probably want to set it to maybe Multiply. And maybe just lower the opacity
of it down again. I like doing just that second kind
of rung of super close shadow. And then there's more
kind of wafty shadow. That's it for this one,
let's jump into the next video. I'm going to set you a goal,
to do stuff like this on your own. Really ties together a lot of the stuff
we're learning so far. So I'll see you there. All right, I have got a fun
class project for you. This tomato, that chopping board. The rules are in the
Class Projects Word doc. This one here, Class Project - Focus Area. Both the files are in Project 03. And the rules of engagement are, you have
to use the Focus Area to get started. You'll have to tweak it using anything
you like, but probably Select & Mask. And the one that I'm interested in is
how good your shadow ends up being. Not a graded test, everyone's going
to do something different... but please post what you do,
even if you think it's bad. It might be bad, that's okay. Your post might make
somebody else feel better. If his is average, yours is bad,
makes things feel good. Plus we're all here to learn,
so post it and tell us what you did. How you did it, whether-- you can
do the detached Drop Shadow option. Well you might just paint it in,
there is no Blending Mode you used. Maybe you didn't use black for the shadow,
maybe it was a brown. Try and make it look realistic. You have to work out which
way the light's being cast. It looks like, from there from this one,
slightly different from this one. You don't have to just use these
features here, make sure you do these... but you can use anything else to
kind of color grade or add noise. Anything you like for the class project,
and at the end, post it... at any of these places up here at the top,
I'd love to see what you do. Onward to the next video. All right, it is a little trick
for doing Masks, this video. You'll be doing lots of Masking video,
selections of Masking. And I heard you say,
"Another one, Dan, give me one more." This is just a small one,
it's a little trick... that I wanted to keep in here,
because I use it all the time. It's a little hard to get placed in. So let's say we use this image
in the last one and we went... Focus area, and that worked great,
to a point. We minus this chunk out,
went to 'Select & Mask'. Radius, Smoothing, I might shift
the edge in a little bit. Kind of got it to a nice point, right?... but there's a couple of parts,
this bit here is the main offender. Click 'OK'. There's one there as well. So I'm going to show you
how to use the Smudge Tool. I use it because-- I'll show you why. Let's do this one first,
he's the easiest one to get. Because I'm going to work on my Mask,
and what people tend to do... is they grab the Brush Tool,
then they just make it really small. Then how small do you make it?
You keep like-- Let's actually do it so I can show you. So in here, really small. What's my Opacity? I will put it at 100%. I just get that bad, and then
I make the brush a bit smaller. I'm going to get that--
you end up in this kind of like-- It always ends up looking a bit fake
doing it that way. So, along comes the Smudge Tool. What does the Smudge Tool do?
If I work on the actual image-- I'm going to zoom out a little bit. The Smudge Tool is this little finger here. He is normally the Blur Tool, if you hold
him down, grab the Smudge Tool. Now up here, just make
sure it's set to--... you might have been playing around... just pick one of these top
general brushes, pick any brush. And what we'll do is,
the Strength, around about 50%. And we'll set the Hardness to 0. Basically if I'm working
on the actual pixels... it just smudges things,
you can kind of see it there. Smudgy, smudgy, smudge,
but if I undo... that same little thing, when I'm
working on the actual Mask... does some really cool stuff. So I'm going to pick an
appropriate Brush size... and then kind of smudge it in,
and look, let go. Cool, huh? Just kind of smudges it in. I'll show you what I mean, or what it does. I'm going to hold down the 'Alt' key
on a PC, 'Option' key on a Mac... just to click on the Mask to show you
what it's doing, and I undo. Because the Smudge Tool--
watch this. If I make it nice and big, if I just
push from the edge, watch what happens. When I click and drag... I'm just holding the mouse key down,
no Wacom tablet, you can see it kind of... as it's moving along, it kind of slowly
makes the radius smaller... and the effects smaller, so it's really
good for pushing into those edges. Just going to turn it back on,
pick a Brush size. Zoom in. And in this case I might make
the Hardness just a little bit less. I'm just pushing here. You can see, it just gets in the corners
really quick and easy... rather than messing about with the--
yes, making the brushes bigger and smaller. Same here as well on these corners,
ah, look how cool that is. Same for this one as well,
where is that one? Oh, sneaky trick there. If you hold down the 'H' key
on your keyboard-- So I couldn't find where this was, right?
I was down here, and I was like... we're all done, you're like,
"I want to go to this other part." You're like-- oh man, should have
zoomed out, you can't find it, right? If you hold down the 'H' key on
your keyboard, moves to the Hand Tool... but the extra perk for it is,
if you click and hold down the mouse key... it zooms out to like full zoom. Then you can move it around and say,
"I want to look at this bit." Retouch it, retouch it, fix it,
hold down 'H', click. Holding the mouse key down over here... and now I'm going to kind
of work in this bit here. You can see it's not starting down here... so I might have to grab my Brush Tool
and just kind of start a little bit. Back to my Smudge Tool, then just
kind of work this out into the gaps. You might not like it, you might do. I hope you do. I like it. Can you see those corners?
Nice! Look at that. If you're using a Wacom tablet
you probably wouldn't have to do this... because it's pressure sensitive, right?
And you can just... just hold it a little bit lighter
and it goes and pushes it out. This pesky one, and a pesky one again. Now I'm just moving around,
but you get the idea, right? Smudge Tool can be handy for those
kind of corners that you need to get into. Just a little, quick little bonus video. All right, let's move on. Hi everyone, this is a weird video,
where we watch a video together. We're going to sit down side
by side and watch YouTube. Why am I forcing you to do this?
You don't have to, skip along... but what I wanted to show you is
kind of the future of Photoshop. Just so that you're in the know,
I love being in the know. And it's all about masking
out things out of images. It's something called 'Deep Fill'... which is something Photoshop is
developing in the background. It's not in the product yet
but will be in the future. Just gives you kind of a secret back stage
pass of what they're doing. They announced that at last year's
Adobe MAX conference... which is their big conference they have
every year, at something called the Sneaks. Which is in the last days. It's my most favorite part
of the whole conference. They just kind of show you stuff
that's going on in the background. Not available yet but will be,
and it's pretty amazing. So let's watch it together now,
you can skip ahead to the next video... or later on just go and check out
Project 'Deep Fill'... otherwise sit back, relax,
I've skipped the intro. Let's just jump in. - Please welcome Jiahui Yu. - Thank you. Hi, I'm Jiahui, and today I'll introduce
some image hole filling technologies. As you all know that
Photoshop already have... a very powerful image hole filling
tool called Content Aware Fill... which can be used to remove... distracting objects or undesired regions
in an image to make it nicer. It works well in most cases but in
my case here is quite complicated. Here, I have a saved file So I want to remove this thing here
because it's annoying acne. So I'm masking it in here. And let's see what
Content Aware Fill can give us. Well! Now I have one, two, three,
four, I've got four eyes now. I'm just going to talk over this,
and annoying everyone. The mere reason for
this failure is because... the Content Aware Fill does not
try to understand the image. And it's only relying on copying
the surrounding areas... the surrounding pixels into the hole. We believe a good image hole filling system
should be able to understand the face... and fill the nose with the nose,
not the eyes, or mouth, or something else. So to bridge this gap and solve this very
challenging image hole filling problems... we introduce Project 'Deep Fill'. We leverage the power of Adobe Sensei,
deep learning and develop that 'Deep Fill'
that can understand the image. Here, let's see how it performs. I press that 'Deep Fill' button,
and yes it can. Cool, huh? What if we mask the entire eyebrow? Can 'Deep Fill' return us a new one?
Well, let's try it. Here I masked the eyebrow, well,
let's see Content Aware Fill first. Well, this time it copies the mouth
into the location of the nose. And let's see the 'Deep Fill'. Well, it can successfully
hallucinate a new eyebrow for you. We know that 'Deep Fill' works on faces... but in most cases, people travel
around the world, and take photos... and find some people you want to remove. For that project, in my case-- Here, I take a photo in
Perth Canyon National Park. Well, it's wonderful, beautiful weather... but I find two people on the top. So what I'm going to do is,
I take the photo-- What he's trying to explain
in the background... is that Adobe Sensei is their kind of
machine learning artificial intelligence. Watch what happens. Watch it disappear, was this the right one? This image is part of high resolution. It's a bad version. What Adobe Sensei is doing is... it's looking at other people's images
that they've found online. That's crazy, it goes out and says... "You've taken this photo
of a popular spot... "I'm going to go off and
see if I can find it... Adobe Sensei is going to go off and
see if they can find it online... and grab data from there and put it
into your image without you asking. Crazy. Wait for it. This one looks visually realistic... but it's not semantically correct
because it's not an arc anymore. So with our 'Deep Fill', by the way,
we can mask multiple regions... and hallucinate it in one shot.
Let's see it. And yes, this is the Deep Fill. Cool, huh! One more thing, given that Deep Fill
users have no control over... what 'Deep Fill' will feel
in this master region. Of course, we can provide multiple
solutions for users to choose. Another thing to mention is that,
if you are like me... kind of cross over into the video world... they're looking to do this exact
same thing but in live action. So, like people's videos that
have gone online can be used... to mask out live actions of people
walking in front of your... your video of the Eiffel Tower,
can be masked down... because there are enough videos online. Enough data to kind of re-represent that. It's the best I can do now. So, using 'Deep Fill',
let's see how it forms. And yes. This is the AI-powered user guided
image hole filling technology. Project 'Deep Fill'. Sense. That is awesome. They just have a bit of a chat afterwards. So yes, it's just looking at
data that exist online... and tries to use your image, Photoshop
dives into the internet, and says... well here's some images that are the same,
or we think are the same... and starts using that
to put it together... rather than what's just in the image. They call it Adobe Sensei
as their kind of like... background robot learning, machine
learning Artificial Intelligence stuff. You'll see more and more
of this into Adobe. Content Aware Fill is
pretty amazing by itself... but when we get into this
kind of, like reaching out... out of Photoshop and out of the image,
things are going to get pretty cool. Also know, this is Adobe MAX,
this is in Vegas last year. It was my first time, it was so good. If you are going to this year's one in LA,
drop me a line. What we'll do is, if any students are
going, and we want to hang out... we'll just grab a beer one night and we'll
see if we can get a few students together. And we'll just have a little chat,
doesn't have to be anything too special... but if you are going to
Adobe MAX, let me know. That is enough YouTube watching together. Let's jump into the next
group of videos. haere rā. Hi there, it's me again. If you enjoyed
the video, could you give it a thumbs up. Consider subscribing to my channel as well.
I give away lots of this free stuff. This particular video is... just one video of over
a hundred videos... that's in my full
Photoshop Advanced course. There'll be a link in the
description for that. If you want, go check that out. All right, happy YouTubing.
