100:00:03,400 --> 00:00:04,920lumin

1
00:00:03,400 --> 00:00:04,920
luminosity mask can

2
00:00:04,920 --> 00:00:08,029
also be great for targeting sharpening
adjustments

3
00:00:08,029 --> 00:00:12,230
sharpening can be used to enhance
texture emphasize a feature

4
00:00:12,230 --> 00:00:16,800
or increase clarity and definition I
also often use luminosity mas to

5
00:00:16,800 --> 00:00:19,279
constrain sharpening adjustments to the
landscape

6
00:00:19,279 --> 00:00:24,649
leaving a reserve Scion water on
sharpened as is the case with everything

7
00:00:24,649 --> 00:00:25,470
Photoshop

8
00:00:25,470 --> 00:00:29,409
there are many tools for applying
sharpening type adjustments images

9
00:00:29,409 --> 00:00:34,770
however sharpening adjustments are made
using filters on pixel containing layers

10
00:00:34,770 --> 00:00:38,340
instead of with non pixel containing
adjustment layers

11
00:00:38,340 --> 00:00:41,710
applying luminosity mas to sharpening
adjustments

12
00:00:41,710 --> 00:00:45,660
requires first creating a layer that is
a copy of the background pixels of the

13
00:00:45,660 --> 00:00:46,240
image

14
00:00:46,240 --> 00:00:51,740
for example let's use Aloha sea mas for
sharpening the details in the trees

15
00:00:51,740 --> 00:00:52,630
grasses

16
00:00:52,630 --> 00:00:56,410
and reflections at this image but not
scharping scare water

17
00:00:56,410 --> 00:00:59,670
the only detail we could sharpen the sky
and water

18
00:00:59,670 --> 00:01:03,150
would be noise and other digital
artifacts and we don't want that

19
00:01:03,150 --> 00:01:06,960
first we'll need to create a copy the
background layer

20
00:01:06,960 --> 00:01:10,579
on which to do the sharpening you can
create a copy at the background higher

21
00:01:10,579 --> 00:01:11,479
by taping

22
00:01:11,479 --> 00:01:14,869
controlled J or you can go to layer menu

23
00:01:14,869 --> 00:01:18,009
it's like duplicate layer

24
00:01:18,009 --> 00:01:21,639
and then say okay

25
00:01:21,639 --> 00:01:24,670
and there's our background copy

26
00:01:24,670 --> 00:01:28,810
now that we have a where do the
sharpening on we need to generate a mask

27
00:01:28,810 --> 00:01:31,600
that'll do what we need because this
image

28
00:01:31,600 --> 00:01:35,549
contains so much blue in the sky and in
the water I'm guessing that the blue

29
00:01:35,549 --> 00:01:36,549
color channel

30
00:01:36,549 --> 00:01:39,939
will give us our best options sauna
click on the blue

31
00:01:39,939 --> 00:01:43,310
will now see channel I can see that it
does give us good

32
00:01:43,310 --> 00:01:47,539
separation between the sky and the
landscape however if we use this as the

33
00:01:47,539 --> 00:01:48,240
mask

34
00:01:48,240 --> 00:01:51,490
are sharpening would be concentrated in
the sky in the water

35
00:01:51,490 --> 00:01:56,209
and not in the trees the opposite what
we want someone a controller command

36
00:01:56,209 --> 00:01:58,090
click on the blue woman asked the
channel

37
00:01:58,090 --> 00:02:01,270
and then I'm gonna do control shift II

38
00:02:01,270 --> 00:02:04,459
or command shift II on a Mac to take the

39
00:02:04,459 --> 00:02:11,650
inverse that selection

40
00:02:11,650 --> 00:02:12,930
and the sea that selects

41
00:02:12,930 --> 00:02:17,180
in and it's called alpha 1 we actually
know this to be

42
00:02:17,180 --> 00:02:21,230
basic darks selection and it's from the
blue channel

43
00:02:21,230 --> 00:02:26,280
this mass doesn't appear that will
completely keep the sharpening out of

44
00:02:26,280 --> 00:02:27,359
the sky in the water

45
00:02:27,359 --> 00:02:32,870
so now all control halt shift or command
option shift and click

46
00:02:32,870 --> 00:02:37,290
on the Dark Blues channel again and say
that

47
00:02:37,290 --> 00:02:43,379
and this will call dark darks

48
00:02:43,379 --> 00:02:48,519
blue this mass looks like I'll do a much
better job

49
00:02:48,519 --> 00:02:52,879
love keeping the sharpening adjustments
out at the sky and parts for the water

50
00:02:52,879 --> 00:02:56,659
there's still some regions in the water
they're all have some sharpening applied

51
00:02:56,659 --> 00:03:00,540
all she had to deal with that minute
with that dark dark blue selection

52
00:03:00,540 --> 00:03:01,060
active

53
00:03:01,060 --> 00:03:06,389
go back to the RGB color channel and now
I'm on Adam asked to this background

54
00:03:06,389 --> 00:03:11,879
image copy and when I add the new mask
the luminosity mask

55
00:03:11,879 --> 00:03:17,220
well automatically be generated now
let's deal with this area

56
00:03:17,220 --> 00:03:20,349
a the mask that will restrict are
sharpening

57
00:03:20,349 --> 00:03:25,180
in the water a slick the brush tool make
sure that I have black

58
00:03:25,180 --> 00:03:29,139
floated as the foreground color I can
use a fairly strong capacity

59
00:03:29,139 --> 00:03:32,139
now I will paint black

60
00:03:32,139 --> 00:03:36,049
in the areas in the water that I don't
want that adjustment

61
00:03:36,049 --> 00:03:39,439
to be applied her carefully avoid

62
00:03:39,439 --> 00:03:44,819
the trees so that I don't lose those
white portions at the mask

63
00:03:44,819 --> 00:03:48,180
and I can go to a smaller brush when
needed

64
00:03:48,180 --> 00:03:52,829
how I have to get a perfect cuz remember
even the dark grey

65
00:03:52,829 --> 00:03:56,859
color will largely restrict any
sharpening adjustments

66
00:03:56,859 --> 00:04:00,139
so that's probably good enough for

67
00:04:00,139 --> 00:04:07,019
this purpose I'll go back to the color
image select the pixel containing where

68
00:04:07,019 --> 00:04:10,769
and now go to the filter menu and select

69
00:04:10,769 --> 00:04:19,910
sharpen smart sharpen

70
00:04:19,910 --> 00:04:22,960
normally sharpening adjustments wouldn't
be nearly this extreme

71
00:04:22,960 --> 00:04:26,520
I'd use a radius much lower and it also
use a lower amount

72
00:04:26,520 --> 00:04:29,980
and I what should be able to see the
effective the sharpening I'm doing some

73
00:04:29,980 --> 00:04:31,340
turning radius up high

74
00:04:31,340 --> 00:04:34,810
and also leaving the amount hi and see
how much sharpening

75
00:04:34,810 --> 00:04:37,930
that's doing to the image a click OK

76
00:04:37,930 --> 00:04:42,260
and even at this low magnification

77
00:04:42,260 --> 00:04:45,490
by turning the visibility of that
sharpening layer on and off

78
00:04:45,490 --> 00:04:49,220
you can see effect it's having in the
trees

79
00:04:49,220 --> 00:04:54,500
the grasses now let's assume into a

80
00:04:54,500 --> 00:04:59,890
larger magnification and see if it's
keeping the sharpening

81
00:04:59,890 --> 00:05:04,620
out of the sky in the water so if we
take a look we can see that

82
00:05:04,620 --> 00:05:08,350
it's really sharpening those trees but

83
00:05:08,350 --> 00:05:13,330
the skies not being sharpened at all and
the same thing if we look down here into

84
00:05:13,330 --> 00:05:15,320
the reflection in the grass is

85
00:05:15,320 --> 00:05:20,560
we can see how much sharpening replying
and yet we're not sure bring any digital

86
00:05:20,560 --> 00:05:21,470
artifacts

87
00:05:21,470 --> 00:05:25,600
or noise in the water so using a
luminosity mask

88
00:05:25,600 --> 00:05:29,330
to control your sharpening adjustments
to be very helpful

89
00:05:29,330 --> 00:05:33,880
that's an example how to use a
luminosity mas to control

90
00:05:33,880 --> 00:05:37,340
general image sharpening let's look at
this image

91
00:05:37,340 --> 00:05:41,200
other types of sharpening could be used
to enhance texture

92
00:05:41,200 --> 00:05:45,180
in this image there is very low angle
early morning light

93
00:05:45,180 --> 00:05:49,650
glancing across the tops on the rocks
that kinda low angle light

94
00:05:49,650 --> 00:05:53,880
is perfect for revealing texture so in
this case

95
00:05:53,880 --> 00:05:58,760
I want to use targeted sharpening to
bring out the texture in the

96
00:05:58,760 --> 00:06:02,510
illuminated portions at the Rock but not
sharpen

97
00:06:02,510 --> 00:06:06,610
the shadowed areas at the Rock where you
wouldn't expect to see is much texture

98
00:06:06,610 --> 00:06:10,650
I'll start by taking control or command
J

99
00:06:10,650 --> 00:06:14,180
to duplicate the background layer have
because the portions at the image that I

100
00:06:14,180 --> 00:06:15,030
wanna sharpen

101
00:06:15,030 --> 00:06:19,100
in this case contain mostly Reds I think
I'll take a look at the red channel

102
00:06:19,100 --> 00:06:24,460
we can see that the brightest luminosity
values in the red channel

103
00:06:24,460 --> 00:06:28,880
do a good job love targeting those
brightest a reserve the rock

104
00:06:28,880 --> 00:06:32,180
however the shadows are still fairly
light so I think I wanna make a more

105
00:06:32,180 --> 00:06:33,740
restrictive lights mask

106
00:06:33,740 --> 00:06:37,840
I'll start by a controller command
clicking on the red channel the first

107
00:06:37,840 --> 00:06:38,220
time

108
00:06:38,220 --> 00:06:43,020
and saving that as my

109
00:06:43,020 --> 00:06:46,350
lights bread

110
00:06:46,350 --> 00:06:51,100
not control alt shift or Command Option
shift click

111
00:06:51,100 --> 00:06:55,550
a second time and save it to produce

112
00:06:55,550 --> 00:06:58,800
the light light

113
00:06:58,800 --> 00:07:02,370
its red channel

114
00:07:02,370 --> 00:07:07,360
I think the next more restrictive mask
would restrict

115
00:07:07,360 --> 00:07:11,610
too much of the adjustment even in the
highlights some a stick with this one

116
00:07:11,610 --> 00:07:16,410
with that selection active I'll go back
to the color RGB channel

117
00:07:16,410 --> 00:07:20,100
and then I add a new layer mask to the

118
00:07:20,100 --> 00:07:25,160
copy layer and it'll be generated with
the luminosity selection active

119
00:07:25,160 --> 00:07:30,260
I can highlight the pixel conta

結果 (中文) 1:

100:00:03，400--> 00:00:04，920发光度掩码可以200:00:04，920--> 00:00:08，029也是伟大的目标锐化调整300:00:08，029--> 00:00:12，230可以用于锐化增强纹理强调功能400:00:12，230--> 00:00:16，800或增加清晰度和定义我此外经常使用亮度 mas500:00:16，800--> 00:00:19，279约束锐化调整景观600:00:19，279--> 00:00:24，649离开的储备接穗上水变尖了一切为例700:00:24，649--> 00:00:25，470Photoshop800:00:25，470--> 00:00:29，409有很多工具的应用锐化类型调整图像900:00:29，409--> 00:00:34，770不过在锐化更改使用筛选器包含图层的像素1000:00:34，770--> 00:00:38，340而不是与非的像素包含调整图层1100:00:38，340--> 00:00:41，710将亮度 mas 应用到锐化调整1200:00:41，710--> 00:00:45，660需要首先创建一个层，它是背景像素的复印件1300:00:45，660--> 00:00:46，240图像1400:00:46，240--> 00:00:51，740例如，让我们使用 Aloha 海 mas锐化中树的详细信息1500:00:51，740--> 00:00:52，630草1600:00:52，630--> 00:00:56，410和思考在这图像但不是沙尔吓唬水1700:00:56，410--> 00:00:59，670我们可以锐化天空唯一详细信息和水1800:00:59，670--> 00:01:03，150将噪声和其他数字工件和我们不想这样1900:01:03，150--> 00:01:06，960首先我们需要创建一个副本背景图层2000:01:06，960--> 00:01:10，579你可以在其上做锐化在高背景创建副本2100:01:10，579--> 00:01:11，479通过录音2200:01:11，479--> 00:01:14，869控制的 J 或你可以去层菜单2300:01:14 869--> 00:01:18，009就像复制的图层2400:01:18，009--> 00:01:21，639然后说好吧2500:01:21，639--> 00:01:24，670还有我们后台拷贝2600:01:24，670--> 00:01:28，810现在，我们有做在哪里锐化上我们需要生成一个面具2700:01:28，810--> 00:01:31，600那会做我们所需要的因为这图像2800:01:31，600--> 00:01:35，549包含太多的蓝色天空中和在我猜那，水蓝色2900:01:35，549--> 00:01:36，549颜色通道3000:01:36，549--> 00:01:39，939会给我们我们最佳的选项桑拿单击蓝色3100:01:39，939--> 00:01:43，310现在将看到通道我可以看到，它的确给我们带来好3200:01:43，310--> 00:01:47，539天空之间的分离，然而景观如果我们用这个作为3300:01:47，539--> 00:01:48，240面具3400:01:48，240--> 00:01:51，490是锐化会集中在天空在水中3500:01:51，490--> 00:01:56，209而不是在树对面什么我们希望有人控制器命令3600:01:56，209--> 00:01:58，090单击的蓝色的女人问:通道3700:01:58，090--> 00:02:01，270再来做控制转变二3800:02:01，270--> 00:02:04，459或在 Mac 采取转移 II 的命令3900:02:04，459--> 00:02:11，650逆选择4000:02:11，650--> 00:02:12，930与选择的海4100:02:12，930--> 00:02:17，180在它被称为阿尔法 1 我们实际上知道这是4200:02:17，180--> 00:02:21，230基本的深色衣服选择和它的从蓝色通道4300:02:21，230--> 00:02:26，280这一大堆不会出现这种意愿完全保持的锐化4400:02:26，280--> 00:02:27，359天空在水中4500:02:27，359--> 00:02:32，870所以现在所有控制停止 shift 或命令选项 shift，同时单击4600:02:32，870--> 00:02:37，290在暗蓝色通道再一次说那4700:02:37，290--> 00:02:43，379这将调用暗深色4800:02:43，379--> 00:02:48，519蓝色这一大堆看起来会一样多更好的工作4900:02:48，519--> 00:02:52，879爱保持锐化调整在天空和水的部件5000:02:52，879--> 00:02:56，659在水中仍有一些地区它们都具有一些锐化的应用5100:02:56，659--> 00:03:00，540所有她不得不处理了那一刻与那黑暗的暗蓝色的选择5200:03:00，540--> 00:03:01，060活动5300:03:01，060--> 00:03:06，389回过头去的 RGB 颜色通道和现在我对亚当被问到这一背景下5400:03:06，389--> 00:03:11，879图像复制和当我添加新的掩码发光度面具5500:03:11，879--> 00:03:17，220现在好自动生成让我们处理这个领域5600:03:17，220--> 00:03:20，349将限制掩码锐化5700:03:20，349--> 00:03:25，180在水中的浮油画笔工具使一定黑5800:03:25，180--> 00:03:29，139作为前景色我可以漂浮使用较强的能力5900:03:29，139--> 00:03:32，139现在我将漆黑色6000:03:32，139--> 00:03:36，049在区域的水，我不知道想要这种调整6100:03:36，049--> 00:03:39，439要仔细地应用她避免6200:03:39，439--> 00:03:44，819树，我并没有失去那些在面具的白色部分6300:03:44 819--> 00:03:48，180我可以去小刷时需要6400:03:48，180--> 00:03:52，829如何获得完美的因为记得即使是黑暗的灰色6500:03:52，829--> 00:03:56，859颜色很大程度上将限制任何锐化调整6600:03:56，859--> 00:04:00，139所以这是可能已经足够好6700:04:00，139--> 00:04:07，019此为颜色中回去图像选择像素包含在哪里6800:04:07，019--> 00:04:10，769现在转到筛选器菜单中选择6900:04:10，769--> 00:04:19，910锐化智能锐化7000:04:19，910--> 00:04:22，960通常锐化调整不会是近这种极端7100:04:22，960--> 00:04:26，520将使用半径要低得多，它也使用较低的数额7200:04:26，520--> 00:04:29，980和我应该还能看到什么有效的锐化我做一些7300:04:29，980--> 00:04:31，340高的转弯半径7400:04:31，340--> 00:04:34，810此外留下数量喜和见多少的锐化7500:04:34，810--> 00:04:37，930那干什么的形象点击好7600:04:37，930--> 00:04:42，260甚至在此低倍放大7700:04:42，260--> 00:04:45，490通过打开的可见性，锐化层，打开和关闭7800:04:45，490--> 00:04:49，220你可以看到它有的效果树木7900:04:49，220--> 00:04:54，500青草，现在让我们假设成8000:04:54，500--> 00:04:59，890更大放大倍率，看看是否它有保持锐化8100:04:59，890--> 00:05:04，620从天空中水所以如果我们看看我们可以看到，8200:05:04，620--> 00:05:08，350它真的锐化那些树，但8300:05:08，350--> 00:05:13，330在所有不被磨的天空和同样的事情，如果我们看不到这里8400:05:13，330--> 00:05:15，320在草地上的反射是8500:05:15，320--> 00:05:20，560我们可以看到多少锐化的回答和我们的人不知道任何数字带来8600:05:20，560--> 00:05:21，470工件8700:05:21，470--> 00:05:25，600或中水所以使用噪声光度的面具8800:05:25，600--> 00:05:29，330要控制你削尖的调整是非常有帮助8900:05:29，330--> 00:05:33，880这是一个例子如何使用控制亮度 mas9000:05:33，880--> 00:05:37，340一般图像的锐化让我们看看这幅图像9100:05:37，340--> 00:05:41，200可以使用其他类型的锐化以提高纹理9200:05:41，200--> 00:05:45，180在这张图片有很低的角度清晨的曙光9300:05:45，180--> 00:05:49，650看了一眼上面的岩石上那有点儿低角灯9400:05:49，650--> 00:05:53，880是完美的揭示纹理，这种情况下9500:05:53，880--> 00:05:58，760我想要使用到有针对性锐化带出的纹理9600:05:58，760--> 00:06:02，510照射在岩石的部分但不是锐化9700:06:02，510--> 00:06:06，610在岩石的阴影的区域在那里你不能指望看到很多种材质9800:06:06，610--> 00:06:10，650我将开始采取控制或命令J9900:06:10，650--> 00:06:14，180复制背景图层有因为在图像的部分，我10000:06:14，180--> 00:06:15，030想要锐化10100:06:15，030--> 00:06:19，100在这种情况下包含主要是我认为的红军我会看看红色通道10200:06:19，100--> 00:06:24，460我们可以看到，最亮的亮度在红色通道值10300:06:24，460--> 00:06:28，880做一个好工作爱针对那些最亮的储备岩石10400:06:28，880--> 00:06:32，180然而在暗影中仍然相当所以我想让更多的光10500:06:32，180--> 00:06:33，740限制性灯面具10600:06:33，740--> 00:06:37，840我先来一个控制器命令点击红色通道第一10700:06:37，840--> 00:06:38，220时间10800:06:38，220--> 00:06:43，020并保存，作为我10900:06:43，020--> 00:06:46，350灯面包11000:06:46，350--> 00:06:51，100不控制 alt shift 或命令选项shift 单击11100:06:51，100--> 00:06:55，550第二次时间并将其保存到生产11200:06:55，550--> 00:06:58，800光11300:06:58，800--> 00:07:02，370其红色通道11400:07:02，370--> 00:07:07，360我认为下一更具限制性面具将限制11500:07:07，360--> 00:07:11，610太多的调整甚至在重点介绍一些这一根棍子11600:07:11，610--> 00:07:16，410该活动的选择与总要去回对颜色 RGB 通道11700:07:16，410--> 00:07:20，100然后我将添加到新的图层蒙版11800:07:20，100--> 00:07:25，160复制图层，它会生成活动的亮度选择11900:07:25，160--> 00:07:30，260我可以突出显示像素 conta

結果 (中文) 3:

1
00:00:03400——> 00:00:04920
亮度掩模可以

2
00:00:04920——> 00:00:08029
也是伟大的为靶向锐化
调整

3
00:00:08029——> 00:00:12230
锐化可以被用以提高强调
纹理一特征

4
00:00:12230——>
00:00:16800或增加清晰度和定义我
也经常使用光度MAS

5
00:00:16800——
> 00:00:19279约束锐化调整的
景观

6
00:00:19279——> 00:00:24649

激化留下接穗储备水是一切7


00:00:24649——> 00:00:25470
PS图象处理软件
10
8
00:00:25470——> 00:00:29409
有许多工具应用锐化型调整图像

9
00:00:29409——> 00:00:34770
然而锐化调整

使用过滤器在像素层含有

10
00:00:34770——> 00:00:38340
，而不是非像素含有
调整层

11
00:00:38340——> 00:00:41710
应用MAS亮度锐化昨日调整了


12
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首先需要创建一层


13
00:00:45660背景像素复制——> 00:00:46240
图像

14
00:00:46240——> 00:00:51，740
例子，让使用ALOHA海MAS为
锐化细节树

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00:00:51740——> 00:00:52630
草

16
00:00:52630——> 00:00:56410
和反射这一形象但不
夏平吓唬水

17
00:00:56410——> 00:00:59670
唯一的细节我们可以锐化天空

水18

00:00:59670——> 00:01:03150
将噪声和其他数字
文物，我们不想19


00:01:03150——> 00:01:06960
首先我们将需要创建副本的
背景层

20
00:01:06960——> 00:01:10579
上做锐化你可以创建一个副本在背景较高

21
00:01:10579——> 00:01:11479贴

22
00:01:11479——> 00:01:14869
控制J或你可以去层菜单

23
00:01:14869——
> 00:01:18009

它的喜欢重复层

24
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，然后说好吧

25
00:01:21639——> 00:01:24670
还有我们的背景副本

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00:01:24670——> 00:01:28810
现在，我们在哪里做
锐化我们需要生成一个面具

27
00:01:28810——> 00:01:31600
，会做什么，我们需要因为这图像


28
00:01:31600——
> 00:01:35549包含这么多的蓝色天空和
水我猜测，的蓝色

29
00:01:35549——> 00:01:36549
颜色通道

30
00:01:36549——> 00:01:39939
将给我们我们最好的选项桑拿
单击上的蓝色

31
00:01:39939——> 00:01:43310
现在将看到通道我可以看到，
这确实给了我们好

32
00:01:43310——> 00:01:47539
分离之间的天空和
景观然而如果我们使用这个作为的

33
00:01:47539——> 00:01:48240
面膜

34
00:01:48240——> 00:01:51490
加剧将被集中在
的天空在35水


00:01:51490——> 00:01:56209
和不在树上对面什么
我们想要一个控制器命令

36
00:01:56209——> 00:01:58090
单击蓝色的女人问
通道

37
00:01:58090——
> 00:02:01270然后我要做控制转移II

38
00:02:01270——> 00:02:04459
或命令移II在一个MAC采取39


00:02:04459——> 00:02:11650
逆选择

40
00:02:11650——> 00:02:12930和大海，选择

41
00:02:12930——> 00:02:17180
，它被称为α1我们实际上
知道这是

42
00:02:17180——> 00:02:21230 BASIC暗部选择和它的

蓝色通道

43
00:02:21230——> 00:02:26280
这质量不出现，将
完全保持的锐化了

44
00:02:26280——> 00:02:27359
天空45水


00:02:27359——> 00:02:32870
所以现在所有控制停止移或命令
选项移并单击

46
00:02:32870——> 00:02:37290
暗蓝色通道再次说


47
00:02:37290——
> 00:02:43379这将称之为暗深色

48
00:02:43379——蓝色> 00:02:48519
这种质量看起来像我会做一个多
更好工作

49
00:02:48519——> 00:02:52879
爱保持锐化调整
的天空和部分水

50
00:02:52879——> 00:02:56659
仍有一些地区的水
他们都有一些锐化应用

51
00:02:56659——
> 00:03:00540所有她来处理与，分钟
与，暗蓝色选择

52
00:03:00540——> 00:03:01060
主动

53
00:03:01060——> 00:03:06389
去背对的RGB颜色通道现在
我对亚当问这个背景

54
00:03:06389——> 00:03:11879
图像拷贝，当我加入新的掩码
亮度掩模

55
00:03:11879——> 00:03:17220嘛
自动生成现在
让我们处理这个地区

56
00:03:17220——>
00:03:20349一个面膜，将限制锐化

57
00:03:20349——在水面浮油的画笔工具使
肯定，我有黑色的

58
00:03:25180——> 00:03:29139
浮出水面，前景颜色
我可以使用一个相当强的能力

59
00:03:29139——
> 00:03:32139我将漆黑色

60
00:03:32139——
> 00:03:36049 > 00:03:25180

在地区的水，我不
，调整

61
00:03:36049——> 00:03:39439应用她小心翼翼地避开

62
00:03:39439——> 00:03:44819
的树木，我不要失去那些
白色部分的面具

63
00:03:44819——> 00:03:48180
，我可以去一个较小的刷时
需要

64
00:03:48180——> 00:03:52829
我是如何得到一个完美的因为记得甚至暗灰色



希望65
00:03:52829——> 00:03:56859
颜色会很大程度上限制了任何
锐化调整

66
00:03:56859——> 00:04:00139
所以，的可能不够好

67
00:04:00139——> 00:04:07019
这个目的我会去背的颜色、图像选择像素含有，

68
00:04:07019——去> 00:04:10769
现在滤镜菜单并选择

69
00:04:10769——
> 00:04:19910锐化智能锐化

70
00:04:19910——> 00:04:22960
通常锐化调整不会
几乎是这个极端

71
00:04:22960——> 00:04:26520
我会用低得多的半径，它也
用一个低量

72
00:04:26520——> 00:04:29980
我什么应该能够看到
有效锐化我做一些

73
00:04:29980——> 00:04:31340
转弯半径高

74
00:04:31，340——> 00:04:34810
和也离开量喜看
多少锐化

75
00:04:34810——> 00:04:37930
，做图像点击OK

76
00:04:37930——> 00:04:42260
，即使在低倍率

77
00:04:42260——> 00:04:45490
转动的可见性，
锐化层和关闭

78
00:04:45490——> 00:04:49220
你可以看到效果的有79



树00:04:49220——> 00:04:54500
草现在让我们假设成一个

80
00:04:54500——> 00:04:59890
较大的放大倍率和看如果它的
保持的锐化

81
00:04:59890——> 00:05:04620
的天空的在水所以如果
我们采取一看我们可以看到，82


00:05:04620——> 00:05:08350
真锐化那些树但
83

00:05:08350——
> 00:05:13330天空没有被削尖所有
同样的事情如果我们看到

84
00:05:13330——
> 00:05:15320反射在草地上

85
00:05:15320——> 00:05:20560
我们可以看到多少锐化回复
，但我们不一定带来任何数字

86
00:05:20560——> 00:05:21470
文物

87
00:05:21470——> 00:05:25600
或噪声在水中，所以使用
亮度掩模

88
0点05分，当时列车停靠：25600——> 00:05:29330
来控制你的锐化调整
来是非常有用的

89
00:05:29330——> 00:05:33880
，例如何来使用
光度MAS控制

90
00:05:33880——> 00:05:37340
一般的图像让我们看看
这图像

91
00:05:37340——使用
提高纹理

92
00:05:41200——
> 00:05:45180 > 00:05:41200
其他类型的锐化锐化在这幅图像中有是非常低角度
晨曦

93
00:05:45180——> 00:05:49650
扫过顶上的岩石
，有点儿小角光

94
00:05:49650——> 00:05:53880
完美为揭示纹理所以
这个案例

95
00:05:53880——> 00:05:58760
我想要到使用靶向锐化
带出的纹理，

96
00:05:58760——> 00:06:02510
照明部分岩石但不
锐化

97
00:06:02510——期望看到
> 00:06:06610阴影地区的岩石，你
不会是多纹理

98
00:06:06610——> 00:06:10650
我会开始的以控制或指挥
J

99
00:06:10650——> 00:06:14180
来复制背景层
因为部分的图像，我

1
00:06:14180——
> 00:06:15030想锐化

101
00:06:15030——包含在这种情况下> 00:06:19100
大多是利物浦我想我会看看的红色通道

102
00:06:19100——> 00:06:24460
我们可以看到最亮的亮度
值
00:06:24460红色通道

103——好爱工作针对那些明亮的
储备岩石

104
00:06:28880——>
00:06:32180然而的阴影，仍然相当
做> 00:06:28880

所以我想我想做一个更

105
00:06:32180——> 00:06:33740
限制光掩模

106
00:06:33740——> 00:06:37840
我会开始一个控制器命令
点击的红色通道第一

107
00:06:37840——> 00:06:38220


108
00:06:38220——> 00:06:43020
和节约，我

109
00:06:43020——> 00:06:46350
灯面包

110
00:06:46350——
> 00:06:51100光不控制ALT移位或命令选项
移点击

111
00:06:51100——> 00:06:55550
一个二次并保存它产生

112
00:06:55550——
> 00:06:58800 113光


00:06:58800——> 00:07:02370
的红色通道

114
00:07:02370——> 00:07:07360
我认为未来更严格的面膜


115
00:07:07360——> 00:07:11610
太调整甚至
的限制集锦一些坚持这一

116
00:07:11610——> 00:07:16410
，主动选择我会回去
的颜色RGB通道

117
00:07:16410——> 00:07:20100
，然后我添加一个新图层蒙版的

118
00:07:20100——> 00:07:25160
复制层，它会产生
光度主动选择

119
00:07:25160——> 00:07:30260
我可以突出像素康塔