Saturation masks are actually a little easier than luminosity masks as you're focused on one thing, image saturation. It's generally just a balancing act of pulling back over-saturation in some colors and bumping it up in others.
What is the percentage of gray should be when selecting the foreground colour for saturation mask?? Thank you for such a simplified explanation and a easy method.
Are you talking about the saturation painting technique where you paint with gray to remove excess saturation? If so, that depends on your saturation mask. If the saturation mask has a lot of white in it, that means it will transmit a lot of paint and you would want to use a low-opacity brush to avoid removing all color with a single brush stroke. However, most saturation masks are quite dark, and it takes multiple brush strokes to push enough gray paint through a selection of the mask to make the desired change to the over-saturated colors in the image. So if you only have middle grays and dark grays in your saturation mask, you can start with a higher opacity brush (at least 50%) and adjust opacity from there depending on the results.
Thank you so much..now I am watching your luminosity mask tutorial. Happy to learn from you ...also if you can make one video or in parts for how professional do their work flow for portraits landscape and black and white fine arts ..Since I am a beginner I want to practice it from the beginning to make it habit.
9:45 Tony, regarding the technique of desaturating only the oversaturated parts of the image. I wonder if this kind of technique would work as well and be easier?: 1. New Hue/Saturation adjustment layer and reduce saturation. 2. Paste the True Saturation mask to this layer Mask. 3. Use Levels on that mask to adjust it to choose only the over saturated parts.
That would probably work if you have a lot of over-saturation across the entire image, though I have not tried something like this. However tuning a global adjustment in this manner means you can't target saturation reduction quite as precisely as with saturation painting as discussed in the video.
@@TonyKuyper Thanks for answering. I later 12:06 realized that what I suggested is similar to what you did to the vibrance mask with "narrowing of the range" - just the opposite.
Hey! Excellent work! But how does it actually work? It removes the color but what is the Selective Color actually doing for having only the saturation left? How is that possible?
The best way to get a feel for this is to actually create the Saturation mask using the Granger Chart. You can download a copy from the blog post: tonykuyper.wordpress.com/2018/05/24/saturation-masks-2-how-to-make-and-use-true-16-bit-saturation-masks/ As you do this you'll, see the color drop away and the the saturation become white. Basically, the colorless neutrals that comprise a color turn black and color in the color turns white. More color, more white. Less color, more black. End result, saturation mask.
Top on my list of favorite tools I use. Used TK Panel from the early versions till TK7. I've even been using it partially on 32bit tone mapped 3D Renders to isolate highlights, mid tones and shadows. By now I know that Selective Color adjustment layer is a 16bit/ 8bit tool. As selective color isn't available for 32bit images, would there be an alternative way to get True saturation masking on High Dynamic Range images in Photoshop?
Unfortunately, 32-bit mode is pretty limited in the types of adjustment layers it allows to be used, and Selective Color is the only way I know to create these true saturation masks using the Layers panel in Photoshop.
Indeed they do. V5 is essentially identical to V6 in this regard. While these saturation mask methods go back several generations of panels, the V5 was the first to have them available to use in the manner demoed in the vid.
Tony, I have been able to use the saturation painting technique, but I can't get the vibrance hue/saturation technique to work. I press the SAT button to generate the light/dark SAT/VIB masks, but when I press the zone buttons to try and further refine the masks, the mask doesn't match the ones from your video. Is that a limitation for V5?
Bob--Oops, yes, the V5 does work differently. The "Sat" button there only makes a saturation mask. There isn't a dedicated button for a vibrance mask the way there is in the V6. So you're starting point for making the needed zone mask is different, the inverse actually. To get the same mask I use in the video, you'll need to use a Zone 1 or Zone 1-1/2 mask of the saturation mask. This would be equivalent to a Zone 8-1/2 or Zone 9 of a vibrance mask. Please give that a try and let me know if you have additional questions.
Sure thing. Sorry for the confusion. The saturation masks in the V5 are identical to the V6 (made using the Selective Color method), but I forgot that the dedicated vibrance mask was added to just the V6 panel. It's not available in V5.
A Vibrance adjustment doesn't affect all colors equally. The reds are preferentially not saturated with a Vibrance adjustment to prevent over-saturation of skin tones. So, if you have skin tones in your image, the Vibrance adjustment might be ideal. However, if you have red leaves or flowers in your image that need a saturation boost, then boosting through a Vibrance mask using a Hue/Sat adjustment will include those elements as well. Another thing to consider is that a Vibrance adjustment doesn't allow differential saturation changes to different colors the way the Hue/Sat adjustment layer does. Maybe you want the saturation of blues and yellows to be different. You can do this with a Vibrance adjustment. Basically, saturation and vibrance masks offer additional control, especially compared to a straight Hue/Sat adjustment layer. Combining a Hue/Sat adjustment layer with a saturation/vibrance masks makes the Hue/Sat adjustment layer a lot more useful.
Thank you for wonderful tutorial!
Very informative and helpful tutorial! I enjoyed that and learnt a lot from that! Thank you so much Tony! God bless you and good luck!
Thank you for this great demonstration, Tony. It just became an indelible part of my processing.
Thank you Tony! Would love to see this updated for the TK9 Panel.
TK9 already contains the saturation and vibrance masks described in this video.
@@TonyKuyper Thanks Tony. Got it. Just watched Sean's video last night. Really appreciate the TK9 Panel and all the work that you put in to it.
Very nice explanation and demo, Tony!
I can see I still have a lot to learn. Thanks Tony.
Saturation masks are actually a little easier than luminosity masks as you're focused on one thing, image saturation. It's generally just a balancing act of pulling back over-saturation in some colors and bumping it up in others.
Great stuff! Thanks Tony! Very useful. Thanks for sharing your knowledge
Long time Lr user new to the V6 panel, this helped a lot
Excellent and clear as usual. Thank you for sharing.
Great to know new techniques from you.Very helpful indeed.
Thanks, Murali. There are times that saturation masks work some nice magic.
Great stuff here Tony!
Thank You for sharing your research and insight
im blown away, THANK YOU
What is the percentage of gray should be when selecting the foreground colour for saturation mask?? Thank you for such a simplified explanation and a easy method.
Are you talking about the saturation painting technique where you paint with gray to remove excess saturation? If so, that depends on your saturation mask. If the saturation mask has a lot of white in it, that means it will transmit a lot of paint and you would want to use a low-opacity brush to avoid removing all color with a single brush stroke. However, most saturation masks are quite dark, and it takes multiple brush strokes to push enough gray paint through a selection of the mask to make the desired change to the over-saturated colors in the image. So if you only have middle grays and dark grays in your saturation mask, you can start with a higher opacity brush (at least 50%) and adjust opacity from there depending on the results.
Thank you so much..now I am watching your luminosity mask tutorial. Happy to learn from you ...also if you can make one video or in parts for how professional do their work flow for portraits landscape and black and white fine arts ..Since I am a beginner I want to practice it from the beginning to make it habit.
Wonderful! Thanks Tony!
9:45 Tony, regarding the technique of desaturating only the oversaturated parts of the image.
I wonder if this kind of technique would work as well and be easier?:
1. New Hue/Saturation adjustment layer and reduce saturation.
2. Paste the True Saturation mask to this layer Mask.
3. Use Levels on that mask to adjust it to choose only the over saturated parts.
That would probably work if you have a lot of over-saturation across the entire image, though I have not tried something like this. However tuning a global adjustment in this manner means you can't target saturation reduction quite as precisely as with saturation painting as discussed in the video.
@@TonyKuyper Thanks for answering. I later 12:06 realized that what I suggested is similar to what you did to the vibrance mask with "narrowing of the range" - just the opposite.
Much appreciated Tony.
Thanks Tony
Hey! Excellent work! But how does it actually work? It removes the color but what is the Selective Color actually doing for having only the saturation left? How is that possible?
The best way to get a feel for this is to actually create the Saturation mask using the Granger Chart. You can download a copy from the blog post: tonykuyper.wordpress.com/2018/05/24/saturation-masks-2-how-to-make-and-use-true-16-bit-saturation-masks/
As you do this you'll, see the color drop away and the the saturation become white. Basically, the colorless neutrals that comprise a color turn black and color in the color turns white. More color, more white. Less color, more black. End result, saturation mask.
@@TonyKuyper oh thanks that really helped!!
you can get it by subtacting B/W image from colored image and set S channel From HSV to 0
Thank you
Tony, How to creat Saturaton gradient like yours?
Top on my list of favorite tools I use. Used TK Panel from the early versions till TK7. I've even been using it partially on 32bit tone mapped 3D Renders to isolate highlights, mid tones and shadows. By now I know that Selective Color adjustment layer is a 16bit/ 8bit tool. As selective color isn't available for 32bit images, would there be an alternative way to get True saturation masking on High Dynamic Range images in Photoshop?
Unfortunately, 32-bit mode is pretty limited in the types of adjustment layers it allows to be used, and Selective Color is the only way I know to create these true saturation masks using the Layers panel in Photoshop.
@@TonyKuyper @Tony Kuyper I wasn't sure before, this clarifies it for me. Thanks!
Great video Tony. Do these techniques work with the TKV5 panel?
Indeed they do. V5 is essentially identical to V6 in this regard. While these saturation mask methods go back several generations of panels, the V5 was the first to have them available to use in the manner demoed in the vid.
Tony, I have been able to use the saturation painting technique, but I can't get the vibrance hue/saturation technique to work. I press the SAT button to generate the light/dark SAT/VIB masks, but when I press the zone buttons to try and further refine the masks, the mask doesn't match the ones from your video. Is that a limitation for V5?
Bob--Oops, yes, the V5 does work differently. The "Sat" button there only makes a saturation mask. There isn't a dedicated button for a vibrance mask the way there is in the V6. So you're starting point for making the needed zone mask is different, the inverse actually. To get the same mask I use in the video, you'll need to use a Zone 1 or Zone 1-1/2 mask of the saturation mask. This would be equivalent to a Zone 8-1/2 or Zone 9 of a vibrance mask. Please give that a try and let me know if you have additional questions.
Tony, your new instructions for the vibrance mask did the trick. Thanks for your help!
Sure thing. Sorry for the confusion. The saturation masks in the V5 are identical to the V6 (made using the Selective Color method), but I forgot that the dedicated vibrance mask was added to just the V6 panel. It's not available in V5.
Thanks
Can't we just add the Vibrance to less saturated areas via the Vibrance adjustment layer?
A Vibrance adjustment doesn't affect all colors equally. The reds are preferentially not saturated with a Vibrance adjustment to prevent over-saturation of skin tones. So, if you have skin tones in your image, the Vibrance adjustment might be ideal. However, if you have red leaves or flowers in your image that need a saturation boost, then boosting through a Vibrance mask using a Hue/Sat adjustment will include those elements as well. Another thing to consider is that a Vibrance adjustment doesn't allow differential saturation changes to different colors the way the Hue/Sat adjustment layer does. Maybe you want the saturation of blues and yellows to be different. You can do this with a Vibrance adjustment. Basically, saturation and vibrance masks offer additional control, especially compared to a straight Hue/Sat adjustment layer. Combining a Hue/Sat adjustment layer with a saturation/vibrance masks makes the Hue/Sat adjustment layer a lot more useful.
@@TonyKuyper thanks for the fast and detailed reply😉
Hola buenas tardes amigo cómo o descarga desde Ecuador
as always: very clearly explained; thanks.