Transcripts
1. 1.1-introduction: Hello and welcome to my brand new class on masking
in Adobe Lightroom CC. My name is Mark dying, and
I've been teaching about a variety of Adobe programs
for over 12 years. In this focused and
to the point class, I'm going to teach you all about the new and improved
masking tools in Adobe Lightroom CC from the olden familiar
linear gradient to select subject
and luminance range. I'm going to show you
all the ins and outs of the new masking controls
and how to best apply these tools within
a variety of workflows. And not just what
all the buttons do, but also when to apply them and in which situations
they work best. So join me as we dive into masking in Adobe Lightroom 2022.
2. 1.2-Select Subject: The first masking
tool we will be looking at is Select Subject. And select Subject
basically analyzes our image and determines
what its subject is, and then creates a mask
around that subject. And this function
was first introduced in Photoshop CC 2018. Back then, it didn't
really work as advertised just yet
as most function, new functions in Photoshop
and Lightroom do. But it's since the integration into Lightroom and Lightroom Classic and
Lightroom Mobile, It's actually very,
very accurate, which I will demonstrate
with this image of my son by the Baltic Sea
in Croatia here. So I'm just going
to press the MG to enable the masking
tools here on the right. Obviously, you can also click this little mask button here, and here at the top it
says select subject. So I'm just going to
click Select Subject. Photoshop is going to detect the Subject
Photoshop Lightroom. And now I have a mask
around my sum here. And if I zoom in, for example, here on his poncho by
just clicking the image, you'll see that there are
some inaccuracies here. Like the space on the water between the strands
of his poncho have not been very accurately
isolated in the mask. But if I go to the top of
his head here, for example, you will see that
the outflowing hairs here are very
accurately selected. And if I trace the outline
here of the selection, you will see that it is
actually extremely accurate. And now that I have this mask, it is displayed here
in the masks panel. And we have one mask currently containing
a subject selection. Now we can rename these selections by just
double-clicking on the name. And I can enter my
son's name here to MOM. And you can also do that
for the entire mask. So I can enter a name here. Also, you can hide
individual segment segments of a mask by clicking
this little icon here. Or you can hide the
mask in its entirety. So one mask can contain
several methods of masking that will be displayed individually here
in the masks panel. Now, this little
button here show overlay is currently enabled. The overlay is
this red highlight that we see over our subject. And if I disable this,
nothing happens. It only disappears for a second. So this is currently not working as it should in
the current edition. When you actually
watch this course, it could be that this has
been fixed in an update, but for now, it doesn't
actually hide the overlay. If you want to hide the
overlaid temporarily, you can just hold the
mouse button down on the icon of the mask
or the mask segment. And that's going
to hide the mask temporarily while you
hold the mouse down. So once I release the mouse Kia, the overlay is once
again visible. Now with this mask active, we have these editing
controls here on the right. And you don't have
exactly all of them that you have in the
proper editing module, but they are quite extensive. We're not going to be looking at all of them individually. But let's say I want my son to stand out a bit
more in this image, then I can just individually
change the exposure of this mask to make him
stand out a bit more. And I'm actually going to lower the exposure a little bit to create some contrasts between
him and this background. Now, in one of the next videos, I'm going to show
you how to actually add to a mask like
this, for example, also highlighting the pillar
within the same mask, but this is essentially
how Select Subject works. If you want to delete a mask, you can always right-click a mask segment or
the mask itself, and then choose Delete, and it will display whatever
the name of the mask is. And then you can
start from scratch with Select Subject once more, or one of the other
masking tools.
3. 1.3-Select Sky: Select sky basically
works the same as Select Subject only
for the sky of an image. So Photoshop is going
to analyze the image, then mask whatever it thinks the sky of the
image is supposed to be. So here in this image, I can open the masking
controls here by pressing M. And then I
can click Select Sky. And it's going to
analyze the image. And it's going to
place a mask over what Lightroom thinks
this guy actually is, which is then displayed
here in mask one. And you can see that this is a sky selection
because it says here, Sky one now can, for example, change
the temperature of the sky to be a bit more orange and make it
look a bit more sunset. And that's basically
all you have to do in an image where the sky
is clearly defined. Now I'm going to show you
an example where the sky is less clearly defined according
to Light room at least. So I'm going to open the image of the previous lesson here. And I'm going to click
Select Sky again. And it's going to
analyze the image and mask out what it
thinks the sky is. But we are missing some parts of the sky here because
Lightroom cannot distinguish the ocean
here or the sea from the actual sky where
the horizon line is. So let's say I want to add this part of the sky to my mask. I'm just going to
click Mask 1 and then click the segment of the mask that I am
currently editing. And then I'm going
to click Add here. And then I'm going
to choose brush. Now, the brush is something
we will be looking at individually in a later video. But basically, this gives me the circular mouse cursor with which I can click and
drag over the image to add parts to my mask. And you will see that
the sky one and the new brush or separate
items here so you can influence those
individually. So brushes have a size and a hardness or a
feather in Lightroom, and you can use the scroll
mouse so your mouse wheel to increase or decrease
the size of the brush. You can also
increase or decrease the hardness of the brush by holding down Shift on your keyboard and then
using the scroll mouse. So scrolling up increases the feather of the
mask, of the brush. And scrolling down decreases
the feather of the mask. So I'm just going to create
a brush about this big. And then I can just
click and drag over the horizon line to add the sections of the
image to my mask. So it often happens
that just one tool from your masking toolbox is not sufficient to create
the mask that you want. So then you can just
use tools such as the brush tool to add or
subtract from the current mask. And as you will see, once I start changing
the exposure, the entire sky is affected. But also just a little
bit of the C here. So I can just choose, Subtract and then choose brush. And then I can again
click and drag over this section of the
mask to remove it. And that section will no longer
be affected by the mask. So select sky can be
extremely useful, especially in cases like this, where the sky is very
clearly distinct, separate from the
rest of the image. But if it's not, you can always use the other masking tools
to improve your mask.
4. 1.4-Brush Masking: In this lesson, we
will be looking at masking with the brush tool. And for that I have
here this drone image. I shot of a bridge here
in the Netherlands. And I have the masking
controls open and I'm just going to click
the brush masking tool. Now, brushes have
four properties here that we can influence. We can change the brush size, which I can reset to
the default here, we have a brush feather which softens the brush
towards its edges, which I can also
reset to the default, we have a flow or how much masking is applied on the area that you are clicking
and dragging over. And we have the density
which can make the mask more transparent with
a lower setting, which I can just leave at
the current setting here. So size, feather, and flow are
currently at the defaults. And the current
settings are also displayed in my mouse
cursor here I have a fairly large brush with a
fairly large feather also. And now I'm going to
teach you a few ways to influence those settings
with shortcuts, to influence the
size of the brush. If you were using a mouse, which I definitely recommend you're working with Lightroom. You can get just use
the scroll wheel or the scroll function
of your Magic Mouse to increase or decrease
the size of your brush, as I've shown in a
previous lesson. If you want to change the
feather of the brush, you can also hold down the Shift key and
use the mouse wheel. And as you can see, I am now changing the
feathering of the mouse. So those are two
very handy shortcuts that I use all the time. You can also use some
keyboard shortcuts. You can use the
square bracket keys usually found to the right of the peaky of your keyboard to increase or decrease
the brush size. Or you can hold
down Shift and use those same square
bracket keys to change the hardness or the
feather of your brush. And these shortcuts, by the way, also translate to
Adobe Photoshop, where they are also
exceedingly useful. So with a brush tool, I
can just click and drag over parts of an image
to apply a mask, which I will start doing now. And as you can see, the mask is not
uniformly applied. Like if I just go over an area once the mask is
applied lightly. And if I go over an area several times while I'm still
holding down the mouse, the mask is strengthened, So it's, it becomes
more pronounced. And that is because of the flow settings here and
the feathers settings. So what I'm going to show you is I'm just going
to delete this mask by right-clicking it in the mask panel and just
choose Delete Mask 1. Then I'm going to
reapply a brush mask by clicking here in
the brushes panel. I'm going to make the
size a little bigger. Let's say about 35. I'm
going to set the feather to 0 and I'm going to
set the flow to 100. And as you can see here, when I click, now, I get a perfectly
circular masked area. So this is one way of
applying masks like this, but I'm just doing
this to actually visualize how these
settings work. So if I Control Z that so
press undo, basically, I'm going to reapply brush mask and then I'm going to
set the feather to 100 with the flow
still set to 100. And now, when I click, you will see that only
the actual center of the brush is mast out to a 100 percent and the
surrounding area is then feathers so it has a
softer gradient to it, let's say, which is also very visible in the Mask
thumbnail here we have a white center and that graduates to gray
towards its edges. So those are basically the brush settings you
need to be aware of. Again, I use Control
Z to go back a step. And what I'm gonna do now
is mask out the sky here. And I'm just going to use
the mouse wheel to do that. I'm going to
decrease the size of my brush and then I'm going to decrease the feather and then increase the
size slightly again. And I'm just going
to click and drag over where the sky is. And I'm just going to
go little bit too far. I'm going to select part of
the land area here as well. So now I have this mask
and I can influence the raw settings here individually from the
rest of the image. But let's say I want to correct this mask and take out
the sections of land. Then I'm just, if you look
here in the brush settings, we have the brush tool
and we have an eraser. Now, you can switch between
these by just clicking here. And once the eraser is active, you will see that
the plus icon within our cursor changes to a minus. But I usually leave it's set to brush and simply hold Alt or Option on the Mac to temporarily
switch to the eraser. So holding Alt, I can just click and drag over where I think the horizon line is and remove those sections
of the mask. Now, something that the
other masking tools did not allow us to do is to simply
move the masked area. Let's say I just want to
click and drag this around. On the mask, you will see
this brush icon displayed. And if you place
your cursor on it, you can just click and
drag this area around. So you can mask different
parts of the image. And something that I also
wanted to highlight, which I will go over again
in one of the future videos, is the overlay color here, it's currently set to red. If you click this little
overlay color icon here, this circle with red in it, you can actually change the overlay color to
whatever you want it to be. And let's say you want
to mask something out of a red area that's obviously not going
to show up very well. So you can just click and
drag this around to pick a different color for
your masked area. And finally, if you
want to delete a mask, which I've shown previously, you can just right-click
on the mask and the mask panel and
then choose Delete all masks or delete mask one, which is then applied
to whichever, whichever mask you
right-clicked on.
5. 1.5-Auto Mask: When you're working with
brush masking in Lightroom, there is one little checkbox
that can make things more difficult for you depending
on the situation. And that's something I want
to show you in this lesson. Here in this image, I'm
going to apply a brush mask. And besides the settings that
we've already looked at, so size, feather,
flow, and density. There's also this little
checkbox called Auto Mask, and that corrects the mask
that you are applying based on the luminance of
the pixels you are clicking and dragging
over and their color. So let's say I want to mask out this giant tennis ball here. It, the force perspective might make it look like
a regular tennis ball, but this is actually
about as big as my head. So what I'm gonna do here
is make my brush size approximately the
size of the ball with a feather of 0 because
I just want to grab them, the tennis ball in one go. But the checkbox for
Auto Mask is selected. So when I click here now, it's going to apply
the mask only. And that was actually a
little bug in Lightroom. These functions have not been
fully optimized as of yet. Basically, the program was
holding the mouse down for me, which is something
you don't want. So I just press Control Z, applied the brush mask again, and then I'm just going
to click the ball here. And as you can see,
it is not evenly applied where I
clicked my mouse, it determined that
this section was what I wanted to actually
select within the mask, which is obviously not the case. So if you have an unevenly
lit or colored area, you always want to
disable this checkbox so you can evenly apply the mask where you are
actually clicking. So now with the checkbox
for auto mask disabled, I can just click on the
tennis ball and it's going to apply the mask over
the entire area that I clicked on without light
room making any decisions about what I do and don't
want within the mask.
6. 1.6-Linear Gradient: Applying a linear
gradient mask was already possible in earlier
editions of Lightroom CC, but we're still going to
look at it in this lesson. So here I have this image again
from the previous lesson, and I'm just going to click linear gradient here in
the masking controls. And that is going to
give me a target cursor, allowing me to click
and drag across the image to apply a gradient. So what I'm gonna
do is start here at the top and
start clicking and dragging towards
approximately the start of the bridge here. So I want the actual
middle gradient to be at the top of the bridge or the other
end of the bridge. And this is also visualized
here in the masks panel. So at the top we have perfect white where the
mask is completely visible and then
it falls off into transparency towards the
middle of the image. So now I can change, for example, the
exposure of the image. And that is only going to apply that exposure correction
to the top of the image with a very strong fall off towards the other
edge of the gradient. Now, you can very easily
edit gradients like this by just clicking and
dragging to move it around, which also changes the position of the mask and where
it ends, let's say. Or you can grab one of the edges and just click and drag that out to increase the falloff
area of the gradient. So now the gradient
is a bit more elongated and the exposure
correction that I'm currently doing is also
applied up to this point before then falling
off into transparency. You can also rotate
masks by just placing your cursor right outside
of this little target here, and then just clicking
and dragging to apply the gradient at an angle. You can also do this
while you click and drag the original gradient. By the way, I'm just going to
use Control Z to undo that. And we're going
to limit the mask a little bit by dragging it back so that the line here, the bottom line is approximately in the
middle of the image. Now I'm going to
show you a trick that many photographers
often use, and that is creating a
highlighted area at one part of the image and then darker area on another section of an image. So what I'm gonna do here
is right-click Mask 1, and then I'm going to
duplicate that mask. And that's just going to
place the same mask with the same settings top
of the previous one. And it doesn't actually change the settings of the image light. It doesn't apply the edit again. But what I can now do
is invert mask one to make it affect everything
that is not within mask one. So I'm going to right-click here on the mask and choose
invert gradient. You can also press Control
or Command I on the Mac. And when the mask
is highlighted, there is also this
little button here at the top of the edit
settings for invert. So I'm going to
invert the gradient. And now I can lower the exposure at the
bottom of the image, giving me a much more
dramatic looking image. So if I just hide
both masks for now, I can actually change the exposure of this linear
gradients a little bit. Something like that. So if you want to affect both sides of an image with different settings to
add some contrast, you can just duplicate
the gradient mask that you have and then invert it to mask everything that is not within the first
mass that you applied.
7. 1.7-Radial Gradient: The radial gradient works in a very similar fashion
to the linear gradient, except that we are working with an elliptical mask instead
of a rectangular mask. So the falloff is actually
radial instead of linear. So looking at the masking panel, I just want to point
out that the brush, linear gradient and radial
gradient all have shortcuts. So keyboard
shortcuts, if I press the B key with the
masking controls open, I apply a brush mask. If I press the L key, it will give me a
linear gradient and the R key will give
me a radial gradient. So I'm just going to press
R for a radial gradient, which is then created
within the masks panel. And now I can just
click and drag across my image to apply a mask. Now, this mask initially
is elliptical, so I can actually distort
its proportions while I know that this tennis ball here is actually
a perfect circle. So if I want to constrain the proportions of
the radial gradient, I can just hold down
the Shift key and that will make it
a perfect circle. You'll also notice is
that the ellipse is drawn from the center of
your original mouse-click. So that is the default
behavior of this tool, which is actually the inverse of how it works in Photoshop, where you have to
hold down Alt or Option on the mask to
get that behavior. Now here in Lightroom, as
I'm clicking and dragging, I can always grab
the Alt key and that actually inverts
that behavior. So I can click and
drag from the corner of where I originally started. There's no way to move the mask while you're
currently drawing it, but we can always do
that after the fact. And another shortcut concerning these masking tools
that I want to go over is the ability to invert the mask as
you're drawing it. Here on Windows, I can
hold down control. And that is actually
going to invert the mask. So it's going to apply
the mask everywhere outside of the circle
instead of the inside. And that will be Command
on the Mac obviously. So what I'm gonna do
is click and drag a circle holding down
Shift to make it perfectly circular in
the approximate size of the tennis ball. Now, this is what that gives
me once I actually release, release the mouse, it gives
me this circular mask. And I can just change
the position here by clicking and dragging
over the middle. And you can also grab these transform controls to actually change the proportions
of the mask so I can make it elliptical. And if I want to
scale it uniformly, so let's say I just want to
make it bigger on all sides. I can always hold
the Shift key and then click and drag on one
of those transformed points. And that's going to scale
it completely uniformly. Now, when you're dragging these controls, like for example, this one here on the right, you will notice that the one on the left is also
proportionately scaled. That is something that
can be useful to make it bigger from its center. But if you only
want to influence one side of the gradient, you can also hold down
the Alt key or Option key on the Mac to only transform
one of these points. So you can use Shift to
scale the mask uniformly, and you can use all to individually transform
these points. Now the mass currently has
a fairly strong feather, which is, which is set to 50. Currently. The feather is displayed here in this interface element
by the inner circle. So let's say I want
to apply my edit more uniformly to
this tennis ball, then I can just grab this little transform point
in the center circle. And I can click that click
and drag that towards the edge to lessen the feather. And once you release the mouse, you will see that the setting is applied here to the
feather as well. So you can just change here, but I prefer to do it
on the image itself. So you can actually visualize what Lightroom
will be doing in the edit. So now I can up the exposure a little bit and you will
see that only the ball here is highlighted and the entire ball gets
a bit more exposure. Currently, there's only a slight feather
towards the edges. So that is how we work
with radial gradients. By the way, one other
handy shortcuts to just get rid of masks. If you're in the
mask and controls, you can just click on the mask, on the image itself or
here in the masks panel. And then you can
just press backspace to delete that part of the mask. Or you can click on the
entire mask here in the masks panel and press backspace to
delete them altogether.
8. 1.8-Color Range: One of the most
important updates to masking and Lightroom is the ability to create masks
based on a color range. So I'm looking at
this image here of these falling rose petals
in front of my daughter. And what I want to
do is create a mask based on the rose petals only. So I only want to
select the rose petals. Now I could do that
with the brush tool. I could try the
Select Subject tool, but that's not going to give
me exactly what I want. And the brush tool is actually a lot more manually intensive, so I have to do a lot more
work to get that selection. But now in this version
of Lightroom CC, we have the color
range masking tool. And this is something
that's been in Lightroom classic
for quite some time. And it's actually one
of the only reasons a lot of my photography
friends refused to switch from classic to the SCC edition because it was missing
this tool specifically. And also the
luminance rains tool, which will, we will be looking
at in the next lesson. So I'm going to click on Color Range here in
the masking tools. And this is going to
give me a target cursor, which I can use to click
or click and drag across the colors that I want
the mask to effect. So I'm just going to click on this rose petal
here in the middle. And that's going to create
a mask based on that color. Now, the rose petals are the only read things in this image. So the mask is initially
already quite accurate. You will see that once I
start changing the exposure, only the rose petals
are affected. But what we also see is that not everything from the rose
petals is actually affected. This darker area falls
outside of the color range, which I clicked on, which is currently set to
50 percent by default. So you can affect how
wide the range of colors is that is being affected by changing
this refinement. So if I click and
drag it to the right, you will see that more of
the color range is selected. And the leaves here and
the mud on the ground and the skin tone of my daughter are also
starting to be effected. So the trick is to find a point
within this Refine slider where the parts of the image
that you want to effect are actually affected
and the parts that you don't want to affect
are not affected. So and also if I
decrease the refinement, you will see that less of the red spectrum here
is being affected. So less of the red color
range is being affected. Now, an easier way
to get this area within the desired range is actually using
the brush tool. I can't really get there
using the refinements because these darker tones are also present on different
parts of the image. For example, the tree
branches here at the top. So what I can do here
is actually click on Color Range in the mask
panel and then choose Add, and then switch to the
brush that's going to add a secondary mass
within mask one. And then I can use
the mouse wheel to decrease my brush
size a little bit. And then I can just
click and drag across this area that I also want
to effect with my mask. And now it's also included
within the color range. So now it gets equally lighter as the other
pixels within the mask. So without this adjustment, this dark area would
not be affected at all. And now that I've
added it with a mask, it gets the same bump in exposure when I start
raising it here. And you can also see this within the mask thumbnail itself. It's actually quite small, but you can see that this
mask is basically only in the shape of the rose petals that are currently
selected within the mask. So let me just disable
this mask here to show you the before and after. So this is the before
and this is the after. And I can always
temporarily hide the entire edit by just holding the mouse down here on this icon at the top
right of the panel. So this is before and this is after,
including the overlay. So if I don't want
to show the overlay, I can just disable that. And I can actually decrease
the exposure a little bit. I can increase the
saturation of the edit, making the rose
petals stand out even more against this
desaturated background. So this is one way of
creating a mask in Lightroom, which is exceedingly
useful if you want to edit only the parts of the image
that are a specific color.
9. 1.9-Luminance Range: Along with being able to create a mask based on a color range, we can also create a mask based on illuminance rains range, or how bright or dark the pixels are that
we want to select. So here I have
this image here of a light show in Amsterdam
in the next museum, my buddy, your him standing
in the image here. And let's say I want
to create a mask of only this lightest
area of the image. Now I could try going for
a radial gradient and then erasing parts of the mask
with the brush tool. Or I can just select all the solute brightest parts of the image and
then apply my mask. So I'm going to choose
luminance range here. And I'm just going to
click anywhere within this highlighted area to
create a Luminance Mask. Now, the mask is currently being displayed and you
can see that it is applied to the lighter
parts of the image. But the range is actually
currently still too wide because I don't want
the floor to be affected. I don't want these light
streaks to be affected or any part of my buddy yearn. I only want to affect this
lightest circle in the middle. So what I can
actually do here is determine which range
is being selected. So I can widen the
range and that adds more luminance
values to the mask. Or I can shorten it, limiting the luminance
values being applied by the mask.
For that, yeah. Actually be a little more
accurate than I was being. So I can just click and drag these sliders around
until I am affecting only the circle itself or actually the center
of the circle itself. So now all of my edits are only applied to this specific area. So now I can change the
exposure, for example, to really blow out
the pixels and give even more contrast with the
model here in the foreground. Now again, as with any
other selection method, we can always subtract
or add to the mask to affect different
areas of the image. So let's say for example, I want to erase this little
part between your legs. I can just choose
Subtract here in the mask panel and
then choose brush. And I can just paint over
this area to remove it from the mask so it's no
longer being affected. So this is an incredibly
useful tool in which we can only affect certain parts of the image based on
their luminance.
10. 1.10-Combining masking tools: Even though in
previous lessons we've already looked at editing
masks that we applied. I want to spend some
additional time on that in this lesson to really
highlight its capabilities. So here I have the first image that
we used in this class. And I'm just going to
use Select Subject to create a mask of my son here. Now the mask is being created. It's detecting the subject. And now we have our mask. Now let's say that I want to add the pillar that my son is
standing on to this mask. Let's do that. I'm just going to click on the image to zoom in. And I'm going to go into the mask panel and choose
Add and then choose brush. And now I can just use the
Brush tool to add to my mask. So I'm going to increase
its size a little bit. I'm going to make sure
the feather is set to 0 because I want some really
well-defined lines. And then I can just
click and drag over the pillar to add it to my mask. And by the way, it is a
good idea to often release the mouse as you are doing this because that gives
you a restore point. And then you can
use Control Z to go back to whatever
the previous step was. So I'm releasing the mouse quite often to make sure that
I don't go too far. And that I can always go back
to the previous action by using Control Z or
Command Z on the Mac as it most Adobe software
control Z is your best friend. Because you can always use it to undo whatever you just did. And since I make many, many mistakes in my edits, and not just in Lightroom, but also in Photoshop and
other Adobe programs. Controls is my best friend. Now, I'm currently
zoomed in and I want to zoom out while the brush
tool is still active. So I'm actually going to
hold down the space-bar and that allows me to just
click and then zoom out. So the spacebar switches between the brush tool and
the zoom tool. So now I've added the pillar to my mask and I can just apply
whichever at its I want. And you can always zoom in again and then change
the brush size to really get down to the nitty-gritty and get all
the detail that you want. And if you accidentally
make a mistake, you can obviously use
Control Z or you can temporarily hold
down the Alt key or the Option key on the Mac, and then just click and drag
with the Minus brush with the eraser to change
the mask once more.
11. 1.11-Copying and pasting masks: In this lesson, I'm
going to show you how to copy masks between
different images. So here I have the
image of my son again, and within this mask, I have two sub masks. Actually, I have the brush mass that I applied in
the previous lesson, and I have the subject selection which I applied in
the first lesson. Now, let's start with
this brush stroke here. What I'm gonna do is
copy this and then paste it to a different image. So I can just right-click
or press control C when it's highlighted here
in the masks panel. But for now I'm just going to right-click and choose Copy. Then I'm going to go to this other image of
the same setting, but taken from a
slightly different angle and a slightly
different distance. And obviously my son
is turned around here. And then I'm just going
to press Control V or Command V on the Mac
to paste that mask in. And now when I click on
it in the mask panel, I have here brush1 copy. Now because the image, the mask was actually
copied in place. So I have to actually
select it here in the masks panel and
then move it to the right place to actually
apply the edit there. Now because the distance
was also different and this was taken on a
14 millimeter lens. I also have to zoom
in and still adjust the mask manually
using the brush tool. So because the brush mask
is already highlighted, I actually don't have to switch
tools and I can just use the eraser to get rid of
these extra areas, let's say. And I can use the Brush tool
to add to the selection. All right, I'm not going
to go over this in too fine detail because we already went over it in
a few previous videos. I just want to show
you what happens when you try to do this for one of the automated selection tools
such as select subject. So I'm just going to
delete the mask for now. I'm going to right-click it in the masks panel and
choose Delete all masks, and then go back to
this previous image, which contains two
masks within mask one. So we have here the
brush and the subject. What I'm gonna do
now is just copy the entire mask so that
copies everything within it. So the brush selection and
the subject selection, I'm just going to
right-click the mask and then choose Copy. And then I'm gonna go back to this other image and then just
press control V as before. Now here we see the brush mask, which we went over just now. But we also see
the subject mass, but it's not visible
on the image itself. And that's because Select
Subject needs to be recomputed. So when you actually
click on the mask, it gives you this message
on the image itself, and it displays this
exclamation mark saying that select subject is currently not working
because it's not been computed for
this specific image. So when I click Update, It's actually going to
recalculate what the subject of the images and then
apply the mask here. Now keep in mind that
if you want to batch, apply this to a whole bunch
of images and you've used select subject that all of
them need to be recomputed. And you can't just convert a Select Subject mask to
a different kind of mask. So that is something to
keep in mind when you use these automated selection
tools that they have to be recomputed based on the image
that you're pasting to. And you can't just go
from one to the other without performing this
little extra step.
Martijn Van Weeghel
