Masks - Channels in Photoshop CS3 Training DVD

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Table of contents : see below. - Try a Free Demo

Introduction

• Welcome
• Setting a few key preferences
• Loading the dekeKeys shortcuts
• Loading color settings into Photoshop
• Synchronizing color settings across CS3

1. How Channels Work

• Channels are everything
• The Channels palette
• Channels in color
• RGB color
• Single-channel grayscale
• Lab color
• CMYK plates
• Introducing multichannel
• RGB to multichannel to CMYK (and back)
• CMYK to multichannel to RGB
• Duotones, tritones, and quadtones
• Editing a quadtone
• Separating a composite quadtone
• 16-bit advantages

2. How Masks Work

• The non-color-bearing channel
• The alpha channel
• The anatomy of a mask
• Making an alpha channel
• Using the new channel icons
• Saving an image with an alpha channel
• Loading an alpha channel
• Putting a mask into play
• Using additional masks
• Loading a mask from one image into another
• Viewing a mask as a rubylith overlay
• Changing a mask's overlay color
• Modifying a mask
• Combining masks
• Blending image elements
• The lossless translation
• The goodness of masks

3. Selection Essentials

• The selections is key, your understanding is core
• The marquee tools
• The lasso tools
• The automation tools
• Modifying a selection outline
• Moving and cloning selected pixels
• The floating selection
• Promoting a floater to a layer
• Nudging and aligning
• The Anti-alias check box
• How antialiasing works
• Partially selecting pixels
• Blurring a selection with Feather

4. The Automated Selection Tools

• Magic, quick, and magnetic
• The Magic Wand revealed
• Contiguous and Sample All Layers
• Changing the sample size
• Selecting with the Wand
• The Wand's fake antialiasing
• Dragging, dropping, and registering
• Perfecting your composition
• Meet the Quick Selection tool
• Using the Quick Selection tool
• Meet the Magnetic Lasso tool
• Using the Magnetic Lasso tool
• The new Refine Edge command
• The five Refine Edge slider bars
• Testing a refined selection outline
• QS + ML + RE = success

5. Combining and Transforming Selections

• I'm trapped! Marching ants on the loose!
• Add, subtract, and intersect
• Single-tool calculations
• Networking selection tools
• The Polygonal Lasso trick
• Finessing your selection outline
• Transforming and warping a selection outline
• Pasting an image inside a selection
• Shading and intersecting
• Combining a selection with a mask

6. Color Range and Quick Mask

• The best selection tool is a command
• Meet the Color Range command
• Working in the Color Range dialog box
• Primary colors and luminance ranges
• Sample all visible layers all the time
• Using the Color Range command
• Smoothing away auto-sharpened edges
• Remaking corners with the Magnetic Lasso
• Now for something a bit more complicated
• Meet the Quick Mask mode
• Editing in the Quick Mask mode
• Quick Mask and Quick Selection
• Making fine-tuned adjustments
• Hand-painting refinements
• Pasting an image in back of a selection
• Neutralizing a color cast

7. Erase and Extract

• Extraction erases pixels for good (or ill)
• Meet the Magic Eraser tool
• The Magic Eraser in action
• Using the Background Eraser
• The Background Eraser's shameful secret
• The power of partial extractions
• Why the Extract command erases pixels
• Masking a tiger (or another colorful animal)
• Using the Extract command
• Smoothing edges with Textured Image
• Extracting with an alpha channel
• Shading an extracted image
• Cleaning up the rough edges

8. Everyday Channel Masking

• It's time to select some hair
• Trompe l'oeil with hair
• Choosing a base channel
• Levels or curves
• Overlay painting pt. 1: The highlights
• Overlay painting pt. 2: The shadows
• Cleaning up with the Lasso
• Re-aliasing a selection outline
• Fixing the rough patches
• Testing your mask
• Creating a detailed silhouette
• Adding an underlighting effect
• Previewing the blended composition
• Blending hair and sky
• Select menu equivalents
• Toasting the edges
• Further toasting with Inner Glow
• Setting the image in a $3000 frame

9. Compositing with Blend Modes

• The world of parametric editing
• Bringing in a scanned logo
• The power of Multiply
• Resizing a Smart Object
• Invert and Screen
• Coloring the logo
• The amazing Difference logo
• The 25 standard CS3 blend modes
• Cycling from one blend mode to the next
• Lighten, Darken, and their composite offspring
• Screen, Multiply, Dodge, and Burn
• Why Multiply darkens (blend mode math)
• The seven contrast modes
• The two inversion modes
• Unearthing JPEG details with the Difference blend mode
• The four HSL modes
• Combining the effects of two blend modes

10. Advanced Blending

• The Odyssey Continues
• Mapping one image onto another
• Making a custom contrast mode
• Luminance blending
• Forcing the visibility of underlying layers
• Adjusting the appearance of clipped layers
• Selecting a Blend If channel
• Enhancing highlights by hiding them
• Smart Object first, layer mask second
• The Fill Opacity Eight
• Blending Smart Filters
• Cleaning up edges
• More fun with luminance blending
• A first peek at the Calculations command
• Masking a softly focused model
• Moving layers and masks between images
• Matching colors
• Building transitional blended layers
• Restoring normal colors

11. Layer-Specific Masks

• Layer masks, clipping masks, and knockouts
• Rotating and stretching
• A jet of motion blur
• Keyboard tricks
• Merging sky and landscape
• Masking an adjustment layer
• Creating two windows into an image
• Whitening teeth and adding other highlights
• Mapping a texture onto an image
• Isolating a texture with a layer mask
• Welcome to the glass composition
• Balancing shadows and highlights
• Masking the glass
• Masking the text
• Adding and blending the goldfish
• Assembling the perfect group photo
• Aligning photographs automatically
• Masking in each person's best shot
• Masking densely packed people
• Crafting the perfect final poster
• From the improbable to the impossible
• The fantastical "world of clones" effect
• Upsampling and blurring a background
• Adding a knockout mask
• Choking edges with Gaussian Blur and Levels

12. Specialty Masks

• The corrective power of masking
• The amazing luminance mask
• Brightening and neutralizing the eyes
• Adjusting a nondestructive composition
• Creating a corrective mask
• Averaging away irregular flesh tones
• Modifying specific colors
• Initiating the color mask
• Refining the color mask
• Adjusting the edges around fabric
• Perfecting hair
• Sharpening with a High Pass layer
• The also-amazing density map
• Adjusting the knockout depth
• Fashioning a depth map
• Invoking a depth mask from Lens Blur
• The perfect depth-of-field effect
• Sharpening an archival photograph
• Creating an edge mask
• Making a High Pass sandwich
• Applying the edge mask
• Customizing your sharpening effect

13. Channel Mixing and Other Tricks

• Channel Mixer, I am your father!
• Three ways to gray
• Meet the Channel Mixer
• Mixing a custom black-and-white image
• Creating a professional-level sepia tone
• Employing the Black & White command
• Extreme channel mixing
• The infrared photography effect
• Taking shadows to the brink of black
• Elevating highlights, leeching saturation
• Deepening a black-and-white sky
• Infusing luminance levels with color
• Creating an opposing colorization scheme
• Bolstering contrast with the Green channel
• A tiny improvement to a terrific technique
• The simple (but wrong) approach to red-eye correction
• Channel-mixing red pupils
• The expert approach to red-eye correction
• Fixing problem coronas (pupil edges)
• Making pupils match

14. Calculations (aka Channel Operations)

• Chops are dead; long live maskops
• The Calculations command
• Blue Screen blending
• Refining the Blue Screen mask
• Brushing away color fringing
• Locking the transparency of a layer
• Nondestructive layer painting
• How the Add blend mode works
• How the Subtract blend mode works
• Focus, noise, and other masking challenges
• The Add mode in action
• The Subtract mode in action
• Comparing two channels with Difference
• Enhancing the contrast with Curves
• Gathering details with Apply Image
• Dodge highlights, burn shadows
• Dodge and Burn in action
• Painting in the scalp
• Painting away the face and chin
• Compositing complementary images
• Multiply, Minimum, Blur, and Apply Image
• Crafting the final composition

15. The Pen Tool and the Paths Palette

• Mark of the Pen tool
• The big paths project overview
• How to make a path
• Corner points and freeform polygons
• Editing paths with the arrow tools
• Adding and deleting endpoints
• Adding and deleting interior points
• Converting a path to a selection
• Converting a path to a mask
• Smooth points and control handles
• Making cusp points
• Combining paths in a vector mask
• Turning a path into a shape layer
• Combining paths to make a layer mask
• Mixing layer and vector masks
• Editing character outlines as paths
• Using the Convert Point tool

16. Masking the Tough Stuff

• Where there's a will, there's a way
• Masking natural cast shadows
• Applying the cast show
• Creating a difference mask
• Applying an arbitrary map
• Making the flesh mask
• Roughing in an object mask
• Drawing missing details with the Lasso tool
• Combining flesh and object masks
• Amplifying the cast shadow
• Selectively choking edges
• Power duplication in Photoshop
• Masking blond hair
• Using Levels to mask iterations
• Drawing an iteration boundary
• Merging the best of two Levels iterations
• More fun with Dodge and Burn
• Fixing edges with the Pen and Stamp tools
• Pulling from another file with Apply Image
• Blending clipped layers independently
• Building the flame mask
• Amplifying the flame
• Masking an image against a busy background
• The Freeform and Magnetic Pen tools
• Masking with arbitrary maps
• A more deliberate approach to arb maps
• Combining arb maps with paths
• Masking with the help of the History brush
• Creating a High Pass mask
• Coloring in the outlines
• Mastering Calculations
• Subtracting and merging the beak

17. 16-Bit/Channel and HDR

• The meaning of bit depth (and why you care)
• Scanning line art in 8-bit and 16-bit
• Measuring the 16-bit difference
• Correcting 8-bit images in the 16-bit space
• Opening a raw image directly in 16-bit
• Editing in Camera Raw, opening in 16-bit
• 16-Bit/channel vs. 32-bit/channel (HDR)
• Working with auto-bracketed photographs
• Using the Merge to HDR command
• Adjusting the HDR preview
• Building a 32-bit sky mask
• Properly exposing land and sky
• Modifying a layer mask in 32-bit
• Converting to and correcting in 16-bit Lab

18. DMaps and Lighting Effects

• Photoshop flirts with the third dimension
• The displacement map
• Making custom waves
• Creating a Gaussian distribution
• Using a two-channel displacement map
• Creating a rustic edge effect
• Distorting and shading with a DMap
• Moonlight reflecting off water
• Mapping the reflection onto the water
• Dipping the moon into the water
• Turning flesh into stone
• Wrapping the stone around the face
• Softening a displacement map
• Making a repeating watermark pattern
• 3D embossing with Lighting Effects
• The amazing credit card type effect
• Lightening the credit card letters
• Wrapping the background around the text

Conclusion

• Goodbye

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