- I hope you guys are starting to get really jazzed
and excited about what the possibilities are
when it comes to masking in Lightroom.
I mean, it's really cool to see
all of the different options that we have.
I mean, it's almost limitless, right?
And we're starting to like, unpack the box
and see what's in there, which is really exciting.
So, now we're going to talk a little bit
about some of the options that are given
to you in this new masking panel.
Some of the preferences we've already kind of touched on,
but I did want to just bring a few more things
to your attention when it comes to this tiny little panel.
The first is going to be Show Overlay.
You have the option to turn this on or off,
but when you are hovering over an icon,
you are immediately going to see that mask show up.
Now, you can also, let's go ahead and turn Show Overlay on.
What you can do is you can also change the color
of the mask overlay that you have.
You can change it to any color
that you would potentially want,
and you can see that mask changing
in the bottom there on that side.
Okay, so you can change the mask overlay
to let's say purple.
Why not?
The next thing that we can do
is we can actually visualize this mask
in multiple different ways.
So we do have the Color Overlay,
but you have Color Overlay on a black and white image.
You do have Image on Black and White.
You have Image on Black, which is really, really nice.
If you're trying to really tweak a mask,
this would be how I would go,
'cause you can see here
that I have actually forgotten an area back there
in the background for my mask,
which I wouldn't have seen otherwise
because it's at a lower opacity.
Image on White.
White on Black.
That's kind of indicative
of our old school masking from Photoshop.
But again, my favorite Color Overlay or Image on Black.
Those are going to be the two that I prefer the most.
I know that I have shown you how to rename a master mask,
but you can also rename a sub mask or a mask hybrid
or a mask constriction, whatever you want to call it.
You could say that this is the seam, add seam of jacket.
And then you could rename this color constriction blue,
and so on and so forth.
Okay. So we've done a little bit of that.
And when you hover over these,
you can actually see
that each one of these mask constrictions
does have its own flyout menu.
And you can see that by the three dots next to it.
So if I wanted to, I could go ahead
and take my jacket master mask
and I could choose to Duplicate jacket.
And now we have jacket down here
and we also have jacket Copy.
They are exactly the same mask.
But what I'd like to do is delete all
of these mask constrictions from it.
So I'd like to delete the color constriction
and I'd like to delete the add seam of jacket.
And I can do that by clicking
on either one of these and choosing Delete, okay?
So I'm deleting those
to get me back to our original linear gradient.
Now, instead of modifying the jacket in our image,
I want to modify the shirt color.
So I'm going to rename jacket Copy and call it shirt.
At this point, because our shirt
is the exact same as our original mask from jacket,
we can go ahead and add a color constriction to this,
but instead of selecting the jacket,
we're going to select the color of the shirt.
And so we don't do that by hitting add,
and we don't do that by hitting subtract.
What's the way we make hybrid masks
that have different constrictions from different tools?
We go into our Intersect.
So we're going to choose the three little dots next to shirt
and we're going to choose Intersect with,
and we're going to choose color range again.
At this point, I'm going to go ahead
and click and drag a box around the sample area
of the shirt.
And now, if I wanted to,
I can just come in here and change the shirt completely.
I am getting a little bit of fuzziness right up here
on the skin tone, so I can contract
and refine that mask
so that it literally only applies to the shirt.
So let's see.
We want to make the shirt just a little bit less saturated
so that it doesn't take away from our model.
And then, a little bit darker is fine,
but let's go ahead and change around the hue of our shirt.
I kind of wanted to make it brown, I think.
Maybe a little bit darker and a little bit warmer.
There we go.
So it's really allowing us to completely focus on the face.
If I go ahead and I hit this little light switch up here.
You can't even see it. It's so tiny.
This little light switch right there next to masks.
It's going to allow us to preview the image
without any masks whatsoever.
And then with the modifications that we've made.
So you can see that just by changing the brightness
and the color of those two items in the image,
we were able to really point the viewer
to focus on the face of the image
instead of the clothing in the image.
The last modification that I want to point out
is the Invert option.
And we have touched on this in a previous video,
but I just want to bring it to our attention
just one more time.
So we're going to start again
with our Create new mask plus button.
And this time we're going to choose Select subject,
which is going to use the Adobe Sensei engine
and select our subject.
But, this time, what I'd like to do,
instead of selecting the subject is select the background.
And this is what makes it so easy.
We have the option, again, to choose Invert
from our flyout menu of our subject line,
but then also, there is an Invert checkbox button over here.
And so what that means is that anything
that you have access to in terms of your selection methods,
you also have access to selecting the inverse
of whatever that selection method is.
So, if you have select subject
you can invert that and select everything
but the subject.
If you've selected a sky, you can invert that
and select everything other than the sky.
So, using this Invert button is extremely powerful
when it comes to creating custom masks for your images.
So now that we have our mask of our background,
we can go ahead and name it background
by double clicking on the word,
and then we can go ahead and modify it.
Maybe just darkening it slightly
to really bring the viewer's eye
right to that beautiful face that we have in our image.
And there we go.
We have been able to create
very intricate masks
and also hybrid masks
using the different options that we have under these tools.
It's extremely powerful stuff
that we have going on here.
And I just think it is so cool
how you can create such intricate masks
using these specific tools
and make something really special and very detailed
with just a few clicks of the mouse.