Master Photoshop Selections with Unmesh Dinda | Adobe Creative Cloud
bhadra 0 Comments Acrobat After Effects Illustrator Indesign Light Room Photoshop Premier
(uplifting music) – So the first question
I would like to ask you is do you know what
your best selection was? What was your best selection, anybody? Of course coming to Adobe Max. Do you know what your
second best selection was? I don't have to tell you
that, you're intelligent. (audience laughs)
Well, so how many of you are coming to Adobe Max
for the very first time? That's amazing, how many of you are seeing me for the very first time? Oh no, thank you.
(audience laughs) Seems like I'm not that popular. All right, so let me
ask you, first question. Why do we make a selection? Just shout out the answer.
Why do we make a selection? Change backgrounds, something else? Isolate, yes, anything else? Yes ma'am? Get rid of something. Anything else? Compositing, it's a big part of it. All right, so all of this, targeting, selecting, adjusting. All of this is due to selections. We make selections to do that. Now what if I told you
that you could achieve all of this without
even making a selection or without even making
a complex selection? That's what we are looking at today.
So the first thing is let me take you to this one. What is the best selection method? Can anybody tell me, what is
the best selection method? You have zeroed in on it, you really like it, that's
the one you're going for no matter what image is thrown at you. You just go to that selection
method, what's the best? Pen Tool, Select Subject, anything else? Channels, what if you have
a black and white image? Anything else? Magic Wand, Channels is very useful especially when you have
something that separates red and green or blue.
Select Subject is very amazing when you have a subject with you. But what is really the
best selection method that's gonna work with everything? Masking, it's the same
thing as selection, yeah. So we're gonna get to that. That's a great answer. Anything else, no? All right, so actually the question is is there a best selection method? There isn't, there isn't at all. However, there is a best selection method for your image. Your image is gonna determine what is gonna be the best selection. A lotta people ask me, "Unmesh,
what's the best selection? "What should I use? "What should I go for?" I would say, "Ask your image. "Let your image decide what is
the best selection for you." I know this is inspirational so I'm gonna give you some points on what to look at an image.
All right, now let me show
you a couple examples. Like I'm giving you
something to do, right? This is not a class to just sit and check your messages.
(audience chuckles) So have a look at this photo. First question is, what is common in the area that you want to remove? The color, the color is the common theme in the area that you wanna remove. Let's say that you wanna
remove the background, right? You wanna change the background. What is common in the
area you want to remove? Color, now what property of this image separates the subject from the background? What property of this image separates the subject from the background? Color, it's still color, right? There can be the same
answer for two questions.
Let's have a look at this one. In this case, let's say
your client sends you this. He or she didn't even send
you a transparent logo. Just sent you this. Maybe it's a low resolution something and it has a white
background and a black logo. And you wanna make it transparent, you wanna use it for branding and a lotta different places. So what do you think is common in the area that you wanna remove? Well, it is color, it is white. Okay, now I want you to answer this, what is the property that
separates the subject from the background? Contrast, or in other words
we can say, brightness. The subject is dark and that is white. So the same thing if you make white darker it's gonna become black, right? Let's have a look at this. This one, this is a little complicated.
I want you to tell me what is common in the area you wanna remove? Let's say you wanna replace the sky. What is common in the
area that you wanna remove that is the sky, what is common? What a brilliant answer. Who said that? Big round of applause (hands
clap) for whoever said. What's your name? What's your name, ma'am?
(audience member mutters) Jen, am I saying it right? Round of applause (claps hands) for Jen. She is absolutely correct.
(audience applauds) You must be an expert, you
should be teaching here. All right, so the answer is I'm gonna repeat that for you. The thing is, the common thing that is in the background is that, in the area
that you wanna remove, is color and the separation
is determined by brightness. Or in other words, contrast.
So what does that tell us? We're gonna use a technique
which deals with brightness. We're gonna use a technique
which deals with color. We're gonna use a technique
which deals with contrast in all of these images. So looking at just two things, first, what is common in
the area you want to remove and second, which property of the image separates the subject from the background? That will decide what is gonna be the best technique for you. So last one, have a look at this one. What is common in the
area you want to remove? I'm gonna say it for you. This is the area that you wanna remove, the background, is close to 50% gray and there's a dedicated technique to just remove that.
Okay, we have looked at a lot of examples. Let's move back to the slides. This is an important slide. What's common in the
area you want to remove? The answer will decide the
technique to use, okay? You'll be able to
download the PPT anyways. I gave you the link in the beginning or at the end also if you can remind me I'll give you the link at
the end as well, all right.
Let's move back here. Now let's move to some
fundamental selection technique. I don't wanna save all of that, all right. The first one we are looking
at is the Color Range and the right way to do it. So I have my, I have a lot of examples so I'm not really sure
whether we'll be able to do all of that today,
but I'll try my best. When is the session
ending by the way, 2:30? Oh, we have a lot of time.
So let's start with this one. The first example here. We need to tell Photoshop,
we need to inform Photoshop about every shade of blue there is and the way to do that is by first of all let's go to Select and
then Color Range, okay. Now, it's selecting a strange color. Here's what you need to do. First things first. Make sure that your Select is selected to Sampled Colors, right? Whadda we want to remove? The colors that we sample that's why it is the Sampled Colors. Second, decrease the
Fuzziness to about 10%. Third, make sure that
the Selection Preview is first set to None so that you can see the entire image already. It's like with no changes made. Now, take the first Eye Dropper right here and click on a blue area. Now you would see something happen here if you have Selection checked. White are the areas which are selected.
Black are the areas
which are not selected. Now you need to add all
of these shades of blue so you would take the Plus Eye Dropper and you can just click and add. A lot of people know that,
but what I would suggest you to do which a lot
of people do not know is that you can click and hold and draw around the subject to
make a better selection. So if you just click and
hold and draw just like this it'll just make an entire selection of the things around her. If there's an area left
out just keep on drawing and there you go.
Have a look at this, such
a nice selection isn't it? So now you need to decide, "Okay, what's gonna be the background? "It's gonna be brighter
or is it gonna be darker?" If it's gonna be a brighter background I would change the Selection Preview to White Matte. Now, if it's gonna be a darker background change it to Black Matte. Okay, because that's
gonna be two extremes. You need to look at whether your mask is working on the extreme white and black. If it does it's a great mask. Now, anything that is selected is in blue. Anything that is not selected is white. So we need to invert that. How do you think we can
invert that, anybody? Click on Invert, there's an
Invert button right there. Have a look, click on Invert. Now here is the fun part. Zoom in, see the edges are not proper. Just keep on increasing the Fuzziness until you see it's proper. Now if you increase it too much areas inside of the subject
will also be selected so be aware of that.
Have a look here, inside of the subject we have black, we don't want that. You can correct it to an extent but this is the level
that you wanna go for about 40 or 50 for this
image is fine, okay? But we still have the blues. Now once we have the subject selected you can click on the mask
button right there, okay? And then maybe put up a white background. Click on the Adjustment Layer icon and then choose Solid
Color and choose White. I'm so happy that you
guys are taking notes but I just want to let you know that I have been told that
this class is being recorded so you will have access to it later. So now, there's a cameraman
right there at the back. Big shout out.
(audience chuckles) Now have a look at the blues. I want to ask, we were
just talking about this. What do we need to solve here? We need to solve the brightness or we need to solve the color? Color, it is blue and the
brightness is similar.
The color is at fault here. So what if we could create
a brand new layer, right, and if we take the brush
and if we just paint. If we take a sample from
here and if we just paint it that would be stupid to do.
(audience laughs) However, if you just limit it to the hair by holding the Alt key or the OPT key and clicking on the line between these two and create a Clipping
Mask, that's still stupid because we just wanna change the color. Change the Blend Mode from Normal to, where did that go? Color, all right now
it's working intelligent. So take a sample and just paint over it. Solved, how easy was that, right? The problem is not the
mask, the mask is perfect.
The problem is that the hair is so thin that it takes the color
of the background, okay. All right, so I have
already finished this. I wanted to show you the finished result so that you know what we're, all right this is the finished result. It looks so much more cleaner. I took the time to do it. The same thing, Color
Blend Mode right here and just as a Clipping Mask. All right, now let's
look at another example.
Now this is also gonna be using the Select Color Range, however I want to show
you something new here. And I want to show you why I prefer Color Range over Channels. Let me have a look at this. Whoops, I needed to
open that in Photoshop. There you are. Now, remember we were just talking about my favorite feature in the beginning in Photoshop 2020 which is Close Others? See how many documents we have opened up and we just wanna work on this one and we just wanna clear the mess? Earlier you had to just
open up every document and close it one by one. But now in Photoshop
2020 you can go to File and Close Others and
everything else will close. I don't wanna save anything. Apply to All, don't wanna save anything and everything will automatically close and only the document
that you're working on will be open. Now, in this case if we
had the use Channels, in Channels what you have
to do, you have to find out the channel which has the most contrast between the subject and the background.
But in this case, red
doesn't have any contrast. Green has a little contrast but the area inside of
the dog is also darker so we cannot use that. Blue definitely doesn't
have much contrast. So in this case where the shades of color are too close to each other, have a look at the hair of the dog.
It's so close to red. In this case Color Range would be so much better than Channels. That's why I prefer, I
first use Color Range and if it doesn't work
maybe I will go to Channels. It's just a maybe. All right, let's go to Select and then Color Range. Now, let's first of all
decrease the Fuzziness to 10. In this case there'll be
a little difference here. Now keep in mind the
White Matte is selected and you can change it to None with the Plus Eye Dropper. Just draw around the adorable dog and once you're done it's already inverted so we don't have to invert it.
Change it to let's say,
White Matte, all right? And increase the Fuzziness to the point where it looks okay. But there's a problem here. If I take it beyond a certain point, parts of the dog it's getting black. It's just getting out of selection. No problem at all. We can fix that later. But it gives us something to begin with. Hit OK, now click on the
Mask button right there. Now let's create a white background. Click on the Adjustment Layer icon and then choose Solid Color and then we're gonna choose White. Hit OK, that's put it under it. Now to fix it you can just
open up the mask wheel. Hold the Alt key or the Option key and then click on the mask and let me give you one trick which most of you already know, I'm assuming that. If you take the brush and if you take white as the foreground color. If you don't know, learn it now. Take the brush, white
as the foreground color and if you just paint over
it it's gonna leak, right? It is leaking, however, I'm
sorry, you know it's not good.
But if you change the
Blend Mode of the brush from Normal to Overlay now when you paint it won't leak, right? It just won't leak outside. When you choose Overlay and
white as the foreground color it will only paint on the
areas which are closer to white and it won't paint on
areas which are black. If you do the opposite, black vice-versa. It will only paint on
areas closer to black. It won't paint on white. So now White is selected you can easily just if you want you can
decrease the flow right there. And then just paint over it to correct it. Now let's say you took the time and you have corrected all of this. There's no problem at all
this is just zip, zap, done.
All of that is done. I'm assuming that it looks good. Now, the edges are a
little problematic here. In the previous one we dealt with color but in this case there is
something else which is wrong. Can you tell me what it
is, along with color? Contrast, something else? Fringing, of course we're
gonna solve fringing but what is it about the fringe that we need to solve? The color is definitely
wrong, it's totally wrong but the brightness is
wrong at the same time because if you take away the brightness, let me just quickly do something to take away the brightness. This is not for you to learn but let me just quickly do something to take away the brightness. Have a look, the edges are darker, right? Darker than the inside of it. So we have to completely fill it in. Let's create a brand new layer and with the Clone Stamp
Tool right there, okay. We'll have to take a
sample from the inside, make sure it is a Clipping Mask.
Hold the Alt key or the Option key. Click on the line between these two. Take a sample from here and you will have to
just fill that area in. Right, some areas you might have to paint. Take the paints and make
sure you have a lower flow like 10, 20% and then
you would take a sample and then just start
painting over those areas. That's the way to do it. It will take you time
but there's no other way because it's totally
destroyed at the moment and the colors are so close to each other. But if you give it time you
can actually make it happen. I've already done if for you. I've done one side here for you. But if you want to see the finished result and here it is, all right. So here's the finished result. You can of course, I've changed
the background to yellow. So there you go.
I've changed it to
something similar to red so that the mistakes won't show up. Something you have to do. Sometimes you have to do some cheats to hide your mistakes. This is just one of them. All right, so we learned
how to use Color Range. Any questions about this? Any questions, anything at all? And is there something you missed? Is there something that
you're not able to figure out? Do you have a doubt somewhere? Let me know, no questions? Nothing at all, yes ma'am? At the moment Color Range is
not available on the iPad app. I don't know when it's gonna be available. Maybe Adobe will be a better company to answer that question. All right, any more questions? Yes ma'am.
(audience member mutters) Are you talking about the drop down menu inside of–
(audience member mutters) Yes.
(audience member mutters) Yes, because it's off a different shade. Here's the thing. It selected all the red
but if I had to select the red on the edges, parts of the dog would also be selected and removed.
We don't want that. All right, thank you so
much for the questions. Let's move on to the next one and that is the magic of Blend If. Now, when to use what? I'll get that, I'll get it, I don't know how to say it. I'll get to it later. Thank you, let's move on to the next one. Sky, start, let's open this example and let's open the sky. All right, so here we have a nice image.
We want to change the sky and this is the sky. Now if you want to remove the sky and put the new sky, of
course you would have to put the new sky beneath the image, right? Because when you cut it out, when you cut the sky out from this one you should be able to
see the new sky, right? So right now you're not
able to put it under it. Why is that, can any?
(audience member mutters) It's a background layer. So click on the Lock, it
unlocks, and put it under it.
Okay, now in this case
what was the property that is common in the area
that you wanna remove? (audience member mutters)
Color, what is the property that differentiates the
foreground from the background? It's contrast, it's
brightness level, it's color. So two properties at play. Brightness level and color. And Blend If can deal with both of them.
It can also deal with
just brightness level but it can also deal with color as well. So double click on the right-hand
side of the layer, right? This opens up the Layer
Style dialogue box. If you take the slider
off this layer, right, this layer, from right to left it will remove the bright
areas of this layer, of this layer, from
this layer, make sense? If you take the slider
off the underlying layer from right to left it'll
take the bright areas of the underlying layer,
or the areas which are, or that layer which is under it. Or the layer which is lying
under it, underlying layer, from this layer, okay? We need to remove the bright areas of this layer from this layer. So you need to just take the slider of this layer from bright to dark, just like this. But it's not just bright. We also need to consider the color, right? Two properties at play. So it's not working well because we haven't considered the color.
If you want to consider the color just choose the Channel Blue because the sky is blue. Now when you do that it is
so much better, isn't it? So, (chuckles)
(audience chuckles) yeah, I thought I would get a standing ovation.
(audience laughs) All right.
(audience applauds) Adobe did it. All right, now if you have a look at the edge it's not very good. It's still very harsh so
we need to make it soft and the way we do that is by holding the Alt key or the Option key and we click on the slider,
it divides into two. So now when you just break it apart a little bit of the old sky will show up which is good in a way that it will help you with blending stuff.
You can take it further here and there and there you have replaced the sky. Now you can of course take your time to maybe just select the new sky and add a, let's say,
Curves Adjustment Layer and maybe brighten it or darken it. Unfortunately Curves
is still not available on Photoshop on the iPad. Now I have a lot of grudges against it. So let's go to Hue/Saturation and let's decrease the
Saturation a little bit.
All right, now it's
matching a little bit more. Making sense, any questions about this? No, crystal clear? Yes, sir?
(audience member mutters) It is advisable to do that
but it's not necessary. I always take pictures which are similar especially when you're taking a photograph with a composite in
mind, you do that anyway. So that is what I would suggest but even if you had a different color this would work. So let's go for the next example. Yes, sir?
(audience member mutters) Thank you for bringing that up. The question is, now that
I've created the blend is there a way to create a mask out of it? Well there is.
Photoshop doesn't give
you direct access to do it but there's a workaround in a way which we can do that. Here's the thing. We have used this image, right? We have applied Blend If to this image. Let's apply a very hard Blend If so that it can create a better mask. Okay, hit OK. Now you cannot directly create a mask but you can do this.
Here's the problem, this is on its own however, if you apply
a Clipping Mask here. Let's say I applied orange
and applied a Clipping Mask. It is like it's not working, right? It should be applied to just that area. It won't because it's a Blend If. However, if you're interested
in creating a mask out of it what I would suggest you to do is first make a copy, all right? Now, convert it into a Smart Object.
Right, click on it and then
Convert to Smart Object. Now this is, do you see the
transparency over there, right? And now you can make a selection by holing the Control or Command, clicking on the thumbnail. Now you have a selection. Now you can delete it if you want to and just with that layer selected you click on the mask and
you have a mask, see that? See there's a lot of
workarounds (mumbles). I wish Adobe would add that feature. So, any questions about Blend If? We're doing pretty fine on time. Any questions? Nothing, it's all clear? Yes, ma'am? Well here's the thing. The way the light falls in a day is absolutely different
as it is at the night. So if you do apply a nighttime sky there's a great lookup table
to convert stuff to night and I actually have a video about it on my YouTube channel. I'm not sure if I'm allowed to say that. (audience chuckles)
But I'm gonna say it anyway. So here's the thing.
Just assume that you have
added a nighttime sky. Add a nighttime sky and then you can apply a color lookup table and
change the 3D LUT file. See how simple that is? It's by the name, NightFromDay. There you go, you select
that, it turns to night. Now all you have to do is add in the nighttime sky and it will look beautiful. There's a lotta ways in
which you can add highlights and highlights on the trees. If you stay after the class I'm gonna show how to do it. I have some files, I'm
gonna show it personally. All right, any other questions? Yes, sir? So the question is, if the sky was purple, the new sky or the old sky? The existing sky, right? If the sky was purple,
you have a good point. It probably would be
difficult to work on Blend If but you can try different channels, see if it works, right? It's a trial and error thing. But I'm sure it would work. If it doesn't there are
dozens of techniques to figure that out.
I'm gonna give you a flow chart which will allow you to
make it easier for you. All right, let's move on to the next one. Whadda we have next? Let me check. All right, logos. Graphic designers, this one is for you. Let's have a look. So your client sends you this. This one is not completely black at all. You have a background,
it's kind of low res. So for converting this into a vector for those of you who use Illustrator you know Image Trace and all of that. However, to remove the
background in this case what is the differentiating factor between the background and the subject? Contrast, brightness, it's
brightness in my opinion. It's art so I cannot say
your answer is wrong. (audience chuckles)
So there you go. Double click on the
right-hand side of the layer. I'm so tired of saying it, "Double click "on the right-hand side of the layer." The Layer Styles dialogue
box will show up.
Anyway, double click on the right, just unlock it first,
it's good to do that. Double click on right-hand
side of the layer. Now we wanna take away the bright areas so oh right, simple. Was it simple? It's simple, so now, I would suggest you put a black background underneath it and check whether it's good. Or a very dark background, right? It's not good, at all, it's bad. Let's go back to the
Layer Style dialogue box. Now when you have put a black
background, now you do it.
So now let's take this, it's very harsh so you would hold the Alt
key or the Option key. Click on it, make sure
that the edges are smooth right, just that. Don't worry about the
white lines, that's fine. All right, now what you can do we learned the trick, thank
you for bringing that up sir. How to convert it into a mask. Thank you for bringing that up. All we have to do is right click on it and Convert to Smart Object.
Now it's a Smart Object of its own. What I would suggest is,
anyway this is a solid logo just apply some colors to it. The lines will go away anyway. So click on the Adjustment Layer icon. Choose Solid Color. Choose whatever color you wanna apply. I'm just gonna choose black or whatever. Something like this, hit OK. Hold the Alt or Option
and click on the line between these two layers. Now it's all in one color, right? And to make it interesting
you can also apply a gradient. So click on the Adjustment Layer icon and this time you're
gonna choose a gradient. Where did that go? There you go. Now let's choose a gradient
from black to white. Hit OK, it looks interesting. Hit OK again. Hold the Alt key or the Option key. Click on the line between these two. There you go, this is
something interesting. Now did you know that if you double click on the Adjustment Layer
and the Gradient shows up you can actually move it up and down.
So you can control it
accordingly however you want it. Whatever gradient you have, no
matter how complex you have, maybe this one. You can just move it, oh
no it's not happening. I don't know why it's not happening but it should be happening. Probably I'm pressing the wrong buttons but if you move it up and down it does move here.
I don't know, oh there you go. It's moving now. By the way guys it's Photoshop 2020 so you know what I'm talking about. (audience laughs)
(Unmesh laughs) Oh no. (chuckles)
(audience laughs) Adobe's taking its toll on me, anyway. That's why I work with Adobe, don't work for Adobe.
(audience chuckles) So there you go. This is interesting, isn't it? So we talked about Blend If. Let's move on to another. How many of you shoot
portraits and weddings and all of that fancy stuff? Awesome, some of you guys do that. Sometimes you make
selections for color grading and so you want to add
some mood to the photo. You want to add some drama to the photo so you do some color grading for it. And you make some selection
to do color grading.
Maybe in the bright areas you want a different kind of grade. Maybe in the dark areas you
want a different kind of grade. So let's start with this image. Okay, I've already color graded it but I'm gonna do it again for you. So let me show you how
I color graded it first because when you're at home you do it much better
than when you're live in front of 200 people. So have a look at this. This is my color grade. Actually the screen shows it to you in a much more saturated fashion. It's not as saturated in my screen but you can see the difference between before and after. This is the before, this is the after and you can similarly use Blend If to apply color grading in specific areas. Specific areas depending
upon the brightness levels. So first of all let's
say you wanted her face, the left side of her face,
to be a little brighter.
As you can see there's a
lot of shadow in this area because when you will apply contrast to it this will become very dark. Also on his face as well,
if you have a closer look, this area will become very dark so we need to take care of that. To do that let's create
a Curves Adjustment Layer and click in the middle and
take it up like this, okay? Now we only want to
limit it to dark areas. So instead of trying to
make a selection out of it, instead of trying to
use Channels to do that you can directly use Blend If. And you know what's great
about using Blend If? With Channels you cannot
change the range later. With a Blend If you can do
that, it's non destructive.
Double click on the
right-hand side of the layer and take the slider of
the underlying layer from right to left. Now we are applying it in just that area. Now do keep in mind it's very, very harsh so hold the Alt key or the Option key. Click on the slider and
you can make it smoother. Just like that, so have a look. Here's the before, here's the after.
We have brightened that particular area but we have done that
throughout the image. We don't wanna do that, we just
wanna keep it in this area. So select the mask. Press Control or Command
+ I to invert the mask. Now, what is the concept of mask? White shows and black hides. So you select the mask. You take the Brush, white
as the foreground color. You just, with a soft brush, you paint around her face with white. Now the flow's low, let's increase to 200 and let's paint it.
But it's not painting. Can somebody tell me why? There's a great lesson to learn here. Overlay Blend Mode. So when we work with Overlay Blend Mode do not forget to change it back to normal.
(audience chuckles) It's gonna mess up your
work flow (chuckles) and you're gonna be picking up your brains and pulling out your hair for a very long time. So just remember to do that. Okay, now it will paint. All right, there you go. Let's paint on his face too. Now keep in mind, any time
you can change the range. That's not an issue. Now let's say on the highlights you want this golden
shade on the highlights.
How do you do that? Let's create a color lookup table and if you have worked
with color lookup tables in Photoshop, if you have worked
just a couple weeks with it you will just memorize what each one does. It just comes with you automatically. So if you want a golden look, EdgyAmber is the one. If you want to add some warmth
to it Crisp_Warm is the one. Like just believe it. So I'm gonna choose EdgyAmber. It adds this nice golden effect but we only want it in the highlights. So double click on the
right side of the layer.
The Layer Styles will show up. It's now all over the picture. You want to take it away
from the dark areas. So take it away from the dark areas which is on the left-hand side. Take it away from the dark areas. Now we are going away from the dark areas towards the light, so just like this. It should be working, Photoshop 2020. Hold the Alt key or the Option key. Click on the slider to break it apart and then, now it's only applied to the bright areas, beautiful? Now let's take it even further. All right, so on the bright areas there's a nice golden effect but for the dark areas I
want this bluish effect. So for really dark nightly
kind of dramatic look, FoggyNight is a great color lookup table. Click on the Adjustment Layer icon and then choose Color Lookup and this time let's go
ahead and choose FoggyNight. It's great for the dark areas but not throughout the entire image. Of course you can apply
it to the entire image if you want it to turn
into a haunted house.
But double click
(audience laughs) on the right-hand side of the layer. Take the slider of the underlying layer from left to right. Hold the Alt or Option. You can, we are doing the same thing. And now this is applied to the dark areas. Now you want to add an
overall warmth to it. Now keep in mind I'm overdoing this so that you can see the differences. If you want, you can group both of them. Select the first one, hold
the Control or Command. Select the second one, Control
or Command + G to group 'em. You can control the opacity. See what looks good to you and stop there. For me, let's say I'm gonna stay at 80%. It's good for me. And now to add an overall warmth I'm gonna click on the
Adjustment Layer icon Color Lookup Table, and then
we're gonna go for Crisp_Warm. It adds an overall warmth to the image. Of course the opacity is too high. You can apply just a little bit of it. Maybe about 30, 35% and there you have a nice color grade. So you didn't have to make a
selection of the bright areas.
You didn't have to make a selection of the dark areas of the skin. All you had to do is just apply Blend If and guess what? You can change, you can go
back to those sliders later. So let's say you wanna change the range of brightness, bright areas where the, let's say, the golden effect is being applied. You double click on the
right-hand side of the layer and you can just change
the range on the go, right? And increase the range, keep it at that. And there you have it. So that's how you can use Blend If for we learned how to make
the logos transparent. We learned how to replace the skies with just Blend If and create advanced
masks for color grading. Before we move on to the next segment do we have questions about this? Any questions? No, not at all? It just means that I'm doing awesome. (audience chuckles)
Thank you. Oh no. (chuckles)
(audience laughs) Yes ma'am, just kidding.
– [Audience Member] I
don't know if (mutters). – Yes you can. You can just go to, all
right now keep in mind if you're making lookup tables you cannot use masks, okay? So you would have to create
this mask seperately later. Don't move the one we created here. Color lookup tables don't work with masks so you would have to delete the mask or delete this layer. Once you have this made you
have a background layer there. All you have to do is to go to File and Export and then choose
Color Lookup Tables. Whoops, File, Export, Color Lookup Tables and then it will be saved
as a color lookup table. You can import it into Color
Lookup Tables Adjustment Layer. All right, let's move on to blend modes. This is gonna be fun. Sometimes you don't even have to give a hint of selection, blend modes will do the job for you.
Now I want to go a little
away from selections into compositing and how
can you use blend modes to create some realistic compositing? Let's start right here. So again, it's useful, we
have another document open which I'm not gonna use so I'm gonna go to File, Close Others. I don't wanna save it, very good. So this is a document
and this is a background and we have a reflection and
we have the subject, okay? Simple, we have a different subject from a different background and we have the reflection of the subject. It was in the original subject
background, subject image. Now how do you think we
can blend the subject with that of the background, anybody? I told you blend modes, of course. So now, in any image,
nothing is gonna be brighter than the source of
light, okay, make sense? Right, in any image while
creating a composite please keep this in mind. Sometimes if we brighten an area so much that it's brighter than
the source of light, okay? The source of light might or
might not be in the frame.
However, nothing is gonna be ever brighter than the source of light, all right? So in this case the source of light we can clearly see it's in the frame. It is the sky, so of course the subject is not gonna be brighter than that, right? The only thing that subject
will do in this image well is darkening, right? The only purpose the
subject has in this image is to darken it. The subject is not a light source. It's not gonna brighten it and what is the blend
mode which darkens stuff? Multiply, so let's first change the blend mode of this reflection from Normal to Multiply and let's also change the blend mode of the subject from Normal to Multiply. But it's looking okay, but the problem is the details of the
background also show up. How do you think we're
gonna get rid of details? How do we get rid of
detail, keep the color? Anyone, how can we do that? No, anything else? Yes ma'am? It won't remove the
details of the mountain.
Come on, you always do it. Let me give you a hint, you do it with your camera. You do it with a fast lens, whadda you do? Blur it, exactly, who said that? What's your name, sir? Big round of applause
(claps hands) for Jonathon. (audience applauds)
Awesome answer. Really appreciate it, okay. So now all we have to
do is to blur the image but just in that area, right? So take the background and
make a copy of that area. Sorry, make a copy of
the entire background. Now we want colors of the
entire image to blend in that's why we just didn't make a blur of just that area as of now.
We blur it all and then
just keep that area. All right, so all we need to do is to go to Filter, Blur
and then Gaussian Blur. All right, now this is, we're blurring. It's looking nice, isn't it? We are blurring it, it's
looking pretty good. Hit OK, oh low battery. (audience sniggers)
So, why does it always happen in my class? Hold the Control or Command. Don't worry, I have a charger. Hold the Control or Command. Click on the subject. It's gonna make a selection of the subject and then with the background
copy which you have blurred you would click on the Mask button, right? Now it's taking the color of that. I would give you one
minute to think about it while I charge my stuff.
(audience laughs) All right… I'm so happy that at least the power brick doesn't require dongle.
(audience laughs) All right, there we are. Now the subject is looking pretty okay but there's still a problem. The shadow's not looking okay because there's some
dark areas underneath it.
We need to remove the bright areas of the shadow from the shadow. So double click on the
right-hand side of the layer and then take the slider
of the underlying layer from right to left. It's not solving the problem because that's not the shadow. Here's the shadow.
(audience chuckles) Double click on the
right-hand side of the layer and take the slider of this layer from right to left, solves that. There you go. Hold the Alt or Option,
click on the slider to break it apart and then you can just, also you can play with
the other sliders as well.
Have a look at this
reflection down in here. This is a dark area, right? What if you want to remove this dark area of the underlying layer or
the layer lying under it from the current layer? Take the slider of the underlying layer from left to right. Right, it looks better. Hold the Alt key or the Option key. Click on it, break it apart and create this kind of
nice reflection effect. So there, all right, that looks okay. Now once you have done that of course you can take some time to add some highlights
on the right-hand side, some shadow on the left-hand side to make it more realistic. I'm gonna show you the final result. All right, there you go. In this case what I have done is I have added some brightening on the right-hand side. Just a simple Curves Adjustment Layer with that mask.
Just a simple Curves Adjustment Layer on the left-hand side and then you can also use color lookup tables and then applied some color grading just like we did in the previous example where we used Blend If with color grading. Similarly the same color
lookup tables here as well. The same color lookup tables. And there you go, an
overall color grading. You see, whenever you're
creating a composite, if at the end you apply a
couple of global effects like lookup tables, it will
just bring things together. Let me give you one more cheat code. If you're not able to match the colors of your composite, just
create a black and white. Just convert it to black and white.
(audience chuckles)
And say this is a masterpiece black and white dramatic image. That's what I did in
yesterday's Adobe Live and people didn't know. Now you know that.
(audience chuckles) Okay, let's move on to the next one. Okay, we can also mask for
our hair with blend modes. So let's open this photo. Now here comes the 50% gray idea. Now let me set things up for you. All right, so here we have a
texture on a separate layer and here we have our subject. Now there is a blend mode which hides everything which is 50% gray, makes everything which is
brighter than 50% brighter, makes everything which is
darker than 50% gray darker.
Can anybody tell me
what's that blend mode? (audience member mutters)
You're right. You're not wrong, but
that's not the blend mode I was looking for.
(audience laughs) Okay, so it's actually
in the Overlay group and everything in the
Overlay group does the same. But the blend mode which
we're gonna use today is Overlay, but you can
apply the same thing with Hard Light, Vivid
Light, it's the same thing. But Hard Mix is a little different. All right, so let's change the blend mode to nothing at the moment. Let's keep the texture at the top, okay? Now some of you might be
thinking, "Why didn't I "simply change the blend
mode of the subject "from Normal to Overlay?" Because it wasn't working. (mutters) You need to put
the texture at the top. There's a reason why,
trust me, there's a reason. The reason is actually, if
you change the blend mode of the texture from Normal to overlay, everything that was gray in that texture will go away and those gray areas will be filled back again with the gray areas in
the subject, all right? So let's change the blend mode from Normal to overlay, right? We're getting closer,
it's still not as good.
It's not good because sometimes you need to change the background according to the subject. Most of the times we change the subject according to the background. But sometimes you need
to change the background according to the subject. What if you make it black and white? So, let's just take away the colors. So create an Adjustment Layer and you can create a black
and white Adjustment Layer or a hue/saturation Adjustment Layer and click on this button,
Create Clipping Mask button. Now take the saturation to the left. It's matching even better but it's also on the subject. Here is what we do. One thing that is better in Photoshop 2020 is the Select Subject. The edge detection is so
much better in my opinion because I compared to. So once you have the subject selected, you can turn these off for
your reference if you want to. When you have any of the
selection tools selected like the Quick Selection
Tool or the Magic Wand Tool, any of those, Select
Subject is gonna show up.
Click on Select Subject. It's gonna make a selection of that. Now let's turn these on. You want to take this
away from the texture. What do we do? We mask it. Now if we simply click on the Mask button it will just keep it. You want the opposite effect. So to do the opposite, to
create and opposite mask, you hold the Alt key or the Option key and then click on the Mask button. That area is taken care of. Now it still doesn't look good. The hair is not right. That's why we use the blend mode. You can take a Brush, a soft, round brush, and then if you want you
can decrease the flow to about 30, 40%. Let's increase it (mumbles) at 30% and just start painting
around the edge of the hair. Now you still might be
thinking, "What is he up to? "It's still not looking good" right? It's still looking dark
because we haven't yet adjusted the background. Now, it's still looking dark. It's looking okay, but
it's still looking dark around the edges of the hair so we need to brighten it
up a little to match it.
So click on the Adjustment Layer icon and then choose Curves
and now we just want to limit the curves to the texture. So again, we need to click on this button and create a point in the middle and take it up, make it
brighter accordingly. Now it's matching so much better, right? So we didn't have to go
through hair selection and all of that. It's all matching so nicely. Any questions about this? Anything, nothing at all? All right.
(audience member mutters) Use a different technique.
(audience laughs) (audience member mutters)
Yes, in this case we are going for texture, right? Sometimes it works, sometimes it doesn't so there's always, as we've
learned at the beginning there is no best technique. Ask your image what's
gonna be best for it. Okay, it's like what is the best medicine? There is no best medicine.
You cannot give a best
medicine to somebody. If there was I would
be the first to buy it. So now, let's look at the next one. We talked about Blend If. We talked about blend modes. We talked about masking hair
and fur with blend modes. I wanted to show you
one more example of it. I've already done it but I just wanted to show that to you. We did the same process even in this case. Even if the hair is pretty complex. This is the original image, right? We did the same thing. We applied a curves to brighten it all up and there you go, so easy to do and the great part about this is that it also keeps the original shadow. This is the original shadow right there. It also keeps the original shadow so you don't have to
create additional shadows and all of that, it keeps it. Okay, now let's move on to the next one.
Now we're gonna talk
about Select and Mask. And Select and Mask is one
of those default techniques that I use all the time if I have no idea on what technique to use
I go for Select and Mask and today we're gonna
learn some tips and tricks about Select and Mask. So let's go ahead and open this image and let's say in this case I would first try the Color Range, but
let's say you're going for Select and Mask and the
background is very greenish. It's blurred or something like that. And you're going with Select and Mask. Now you would just click on
any of the selection tools like the Quick Selection
Tool or the Magic Wand Tool. At the top you would go Select and Mask and inside of Select and Mask as well you have Select Subject. Let's click on Select Subject. It makes a pretty good selection. So what you want to be the background? Let's say I want this set on white.
Everything that is selected
is in original color, everything which is not
selected is in white. You can decrease the opacity of it to see which areas you missed. All right, once we have decided that we can just zoom in and
lay with the second one which is the Refine Edge Tool. Just paint on the areas which
are messy, simple stuff. There you go, it automatically
just analyzes the edges and creates them for you. But still there's a problem. The problem is you still see
the green edges right there. How do we remove that? Well there's this thing at the bottom called Decontaminate Colors. You check that and now with the
latest versions of Photoshop you have an option to control it. So as you can see, as soon as I checked in Decontaminate Colors, it went back in most of these areas. It didn't do a perfect job but it definitely did a good job. Here's the before, you see the green? Here's the after.
There's a lag. All right, now let's change the output to New Layer with a Layer Mask. You'll change it to new layer but I always wanna have a mask. So New Layer with a Mask, hit OK. Now we need to understand what it did. So let's create a white
solid color Adjustment Layer and what it did was, if I
just simply turn off the mask, see what it did? It looks so bad. But what it actually does is that it expands the subject from the edge, keeping the
mask intact, making sense? All right, so let me give you a visual representation of what it does. So let me, this is just
a visual representation so don't judge me on my drawing.
That's what every teacher says. So there you go. So let's say this was, what is happening? Oh, the Brush Tool. So there you go. Let's say you were, this is the object that you wanted to select. Let me change it to a hard brush so it's better. All right, this is the object you wanted to select. And when you select it, a
little bit of the white stayed.
So let's say you're making a selection. Right, a little bit of the white stayed in between, like in these areas. A little bit of the white stayed. When you check Decontaminate Colors what it does is that it
keeps the blue mask intact and it expands the red from the edges. That's why the image looks that strange. Right, look at this. That's the same thing happening here. Making sense now? All right, okay, let me close this. So Select and Mask and we had a question from a lady there. I think you had a question about making selections smooth? So we are getting to that.
You can use two simple sliders to make your selections very smooth even if it's jagged. Let's open this example. Here we have made a selection. If you just zoom in, this
is very minute stuff. Look at how jagged the
selection, the mask is. This is the original image as you can see. We masked it out. Look at how bad the mask is. However, I just edited
it and here's the after. Look at how smooth that is, right? So here's the before, here's the after. See that? And it's very easy to do. So here we are. Here we have the mask. Let's open up Select Subject. Sorry, Select and Mask. With the mask selected you can
just double click on the mask that opens up the Select
Subject, Selection Mask. If it doesn't open that up with the mask selected,
open up the Properties.
Or go to Window and then make
sure Properties is checked. And then you can click on
Select and Mask right there. Now inside of Select and Mask let's change the view to On Black so that we can see what's happening and as you can see the
edges are pretty jagged. All you have to do in this case is add some Feather to it. When you add a Feather it's just like adding Gaussian Blur to the mask.
Now, here's the magic. All you have to do is
to add some contrast. Contrast will make the
bright areas brighter and the dark areas darker, thus making the blurred areas
more closer and sharper. So if you had a contrast tab, look what it does, see that? Now, if you see white
edges around the corners you can use Shift Edge to kind
of bring it inside, right? Now there is a demerit to it that is sometimes makes
things a little smoother. We'll get to that in the second example. But this is a really good way to use just two sliders,
Feather and Contrast, to create sharp and smooth edges in masks.
Often we have very rugged
edges, even more rugged than this pixelated stuff. This can be easily solved
with this technique. Hit OK once you're satisfied with it. Let me show you one more example. This is a very harsh example. This is an example of an apple. Look at how bad it is. It's really, really bad the masking. We're gonna do the same thing with the mask selected. Select and Mask. And now let's add some Feather until everything is smooth. So if the Feather is up to, let's say 4.4, you still see these ups and downs, you would increase and
stop at just the point where all of these ups and downs are gone. Do you see ups and downs here? I see a little bit over there so I'm gonna increase
it just a little more. Just like that.
Now the more you increase the Feather these is a chance that it
will lose some details, it will miss out something,
let's increase the Contrast now. It is good over here,
it is good over there. But here have a look. It just made that round edge. That's not a problem, we can fix that. But except for that,
everything seems to be okay.
Hit OK once you are satisfied and then you can just
simply take your brush and black as the foreground
color inside of the mask and just fix that up, right? So any questions about this? Any questions, no questions at all? Pretty simple stuff, just two
sliders, Feather and Contrast. All right, let's move
on to the last section of today's class. We still have 15 more minutes, right? Cool, so the last
section here is refining. Once you have made the mask, once you have created the selection, we need to refine it.
Sometimes it leaves those white edges. Sometimes it leaves those
halos around the edge. How do we refine that? How do we remove that? We definitely learned about
a couple of techniques like using blend modes or
using the Clone Stamp Tool to kind of fill that up. There are some other techniques as well. So let's move on to example number 19. All right, removing
halos using blend modes. Let's have a look at this. So I tried, this is the
original image, have a look. So many hair, right? Such nice flowing hair. But when I masked it and
put it on a red background you see this is not looking right. Why do you think this
is not looking right? The hair is, the mask
is perfect, have a look.
The mask is perfect. Why do you think it's not looking right? Something is off, the color is off and the hair is supposed
to darken stuff, right? It's not supposed to brighten it. So simply change the
blend mode in this case from Normal to Multiply. Now the hair look fine but
everything else becomes red. We don't want that either. So this is Multiply. We have to make a copy of this. With that selected press
Control or Command + J now we have a duplicate. Now once we have a duplicate we will change that Multiply to Normal. Now we had a question in
the beginning of the session as to how to create multiple
masks of the same layer. That's what we're gonna do here as well. We already have a mask here but we don't wanna destroy that. We wanna create one more mask for this one and the way we do that is by putting this layer inside a group.
With this layer selected
press Control or Command + G and then create a mask out of
this inside the group, okay? Now we will just remove the hair areas. So take the Brush, soft round brush and you can decrease
the flow if you want to to around 50% and then just
paint those areas with black. Bring the hair back. Now I'm not being careful but you get the idea of
what you can do here. So easily you're getting the hair back. Paint on these areas around the edges. See that, now you need to be careful to kind of take care of that properly. But you get the idea on how to do it. So we are using the Multiply blend mode to just bring in the hair properly.
I have made, I have taken the time to do it so this is actually, it's the same thing actually. It's the final result. So any questions about this? Any questions, nothing at all? All right, so let's move
on to our last example which is how can you use mask density to clean up your selection? But I didn't add this to my agenda or even lessons, but
somebody asked me a question in the beginning of this class so I'm gonna add a new
feature tutorial as well.
So let's say this was your selection that you wanted to make. Let me add this photo right there. Okay, there we go. Let's say you want to select
the middle pot, right? There's a new feature in Photoshop 2020 and that is the Object Selection Tool. If you click and hold in
the select, in this group, Quick Selection Tool group, the Object Selection Tool's gonna show up. You can choose Lasso or Rectangle. We're gonna go for Rectangle and just make a selection of this one. Now it's gonna make a
pretty good selection. I hope my Photoshop doesn't crash, but let's hope that, you
know I hate that ball. (audience chuckles)
We all do. All right, the selection is pretty good. Now this is one of the great,
one of my favorite features of Photoshop CC 2020. Now all we have to do is
to create the mask here but before we do that, this is one of the lesser known features of the Object Selection
Tool which I really love once you have the Object
Selection Tool selected. Now this is an area we
did not want to select.
This is an area as well
we did not want to select. So inside of the Object Selection Tool, just change is to Lasso
and hold the Alt or Option and say to Photoshop,
"All right, this is not "the object we want to select." It automatically cleans that up, right? "This is not the area I want to select." You do that, it
automatically cleans that up. See how convenient that is? Now this is the object so you would hold the Shift key this time. "This is the object I wanna select." Now it didn't do a good job but you can refine it further. So, "This is not the
object I wanna select." See how good, how easy it is to refine it? So that is one way of
getting good selection, "This is an object I wanna select." It did a pretty good job
so you can go on and on. Here as well, "This is not
the object I wanna select." Okay, got it, how easy that is? Now once you have that zeroed
in you can do one more thing.
Let's say you created the mask, okay? And let's say you put a black background. Let's create a solid
color Adjustment Layer and let's create a black
background like this. To find out which areas you're missing out you have to select the mask, open up the Properties of the mask, right? If you cannot see the Properties once you have the mask selected go to Window and then make
sure Properties is checked. And then simply decrease the Mask Density. That way you will be able to see which areas are missing out and then you can go back to the mask, take your Brush with white
as the foreground color or black as the foreground
color, accordingly.
You would just fill back these areas and that's the way to go, okay? Any questions about this? Nothing at all, simple stuff? Let me show you something
which a lot of people do not use and it's a tool
people don't tend to use a lot but it's a very, very, very useful tool, especially if you're compositing people and you're getting a lot of halos and you wanna blend in
the edges very well. There was a question about
that in the beginning. This is a very good tip to do that. Okay, let me open a
finished image right there. So this is a kind of finished image. We're gonna change the background to black so let me change it to absolutely black.
It's a pretty good selection, right? But there are some white
edges around the corner. On some there are, on some leaves, are they leaves? On some leaves there aren't. So how do we remove the white halos around the ones where we have them? Make sure you select the Mask and this is a very interesting tool. Just select the Smudge
Tool right there, okay? Strength 50% and all you have to do is just push it in. See that, going away.
You need to be a little careful because the edges are together. So it isn't on all the leaves it's just one some and just for some Smudge Tool's a very great way to do it. So have a look. On this it's absolutely fine but here it is there
so use the Smudge Tool to just simply bring
that in, right, clear? Crystal clear? All right, let's move on. We are pretty much done with the session however I promised you something. I promised you a road map. Up until now we have
covered a lot of techniques but how do you decide
which technique to pick? Which is gonna be the best
technique for your image? Which leads to my second
question and this is do you really pick one? Do you really pick one? No you don't.
Maybe you do, maybe you don't. If you picked one and it
worked completely for you you don't pick another one. But if you picked one it
didn't work completely, you can combine it with another technique. However, you always pick
one to begin with, right? So let's get back to the presentation. Oh no… All right, so let me end the show and we gonna just try to open that again. Alrighty, let me close
PowerPoint, force quit. Is it force quitting it? Ignore, okay, all right this is closed. I hope it's closed. There we are, so let's open that again. All right, cool. Okay, so we were here. All right, "Choosing The
Best Selection Method." This is the most important part of this presentation. If you didn't take anything away from this presentation this is the thing and don't you worry about taking photos because you can download
the presentation yourself.
I gave you a link in the beginning, I'll give you again in the end on how to download the presentation. But if you still wanna take pictures you're free to do so. That's what I think. I don't know what Adobe allows you to do.
(audience chuckles) So let's have a look. We learned it in the beginning. Both the image and the subject
decide the masking technique. All right, both the image as a whole and the subject and the
difference between it decide the masking technique. All you have to do is do this.
Can you read what's in all of these? You can, no? Yes or no? But you'll be able to download it anyway so it doesn't matter if you can read it or not read it, you'll
be able to download it. So let me just end the show right there and let me open up Photoshop. I know you wouldn't be able to read it so that's why I saved it
separately so that I can show you. I can zoom in and show you. You'll be able to download it anyway. So you have to look at the image and ask yourself, "What
separates the subject "from the background?" Is it just color? Is it brightness only? Is it brightness and color? Is it structure? Is the background close to 50% gray? If it's just color, first of all try Color Range with Sampling. If it didn't work, you'll use Channels. So similarly I have
instruction for everything.
If it's the structure, maybe let's say the
background is pretty blurred and the subject is pretty sharp then you have a second question. Are the edges between the subject and the background clearly defined? If the edges are a little blurry they're not clearly defined. If they are clearly defined, yes, then is the background solid? Is the background completely solid like blue, gray, green? Like a solid color. If it is solid, yes,
start with the Magic Wand.
If it's not solid, use
the Quick Selection Tool. Let's say if the background is blurred then you would use something
like a Quick Selection Tool or Select and Mask. So similarly it's a very
comprehensive flow chart that will help you decide which technique that you're gonna start with, all right? So I'll give you the download link and take pictures if you want to. If you don't get it let
me know after the class. Now, there's one more flow chart. We have one more minute to go and it won't take much time. There we go, and that is "Ways to Refine Mask or Remove Halos." So after you have made the selection after you have created the mask, how do you refine it? How do you remove the halos? First of all there are four options, four things you can do. What do you want to do? Do you want to clean up the mask? Do you want to just remove the halos? Do you want to repair the mask like we did in the last example where there was this
cactus or something plant? And do you want to smooth
out the jagged edges? If you want to smooth out the jagged edges we learned that.
Use two magic sliders, what were they? Feather and Contrast. So similarly we have techniques listed down for everything. So that was not pretty
much it for this session because I have to give
you some cliche slides which is this. Well, you can follow me there on YouTube, Instagram,
Facebook and Twitter. Especially on YouTube, do follow me. I have a lot of tutorials
that you can follow. I am the Founder of PiXimperfect and a Photoshop instructor, not certified. And let's move on to the next slide. (audience member mutters)
Yeah, do the surveys. You know, please do the surveys. If you don't want me next
year leave a bad review. If you do want me next
year leave a good review. It's up to you. Vote in the name of democracy. All right, I hope this
class was helpful to you.
Thank you so much for coming here.
(audience applauds) It really means a lot to me. (bright music).
