Topaz remask 3 code#

I usually start by using the Magic Brushes. There are different options available to refine your extraction. It is always worth seeing the effect of boosting colour recovery. Under the Adjustments menu there is a Colour Recovery option which revives the colour of the foreground in transparent or weaker areas. You can add a background of either solid colour (screenshot 8) or an imported image. When you are working on the extracted, ‘keep’ image it is usually easier to view it against a background. Here is a closer look at the result in the four view option. So really, there is no need to carefully trace around the edges of everything prior to hitting the Compute button. Screenshot 6 shows what a great job ReMask does using this minimal information. Make a rough outline in red to show where regions are to be removed. Make some broad lines and marks in green within the area you want to keep. This will extend the regions that ReMask has to compute but the program is extremely efficient. BUT it is actually better to fill the image in blue. When you open ReMask, as mentioned above, the default is for the image to be filled in green.

There is a quicker selection method that actually works very well when you have difficult to define areas such as hair. You can work within any of these views and indeed can switch between them. Screenshot 4 shows the Trimap, the Mask, the Original image and the extracted, Keep image. In the top right hand corner of the window there are options for viewing either a single image, side by side image (which you select your preferred view from the top of each of the 2 images), or 4 images. You can see from the traditional, layer mask view, that ReMask has done a pretty good job. ‘Compute Mask’ calculates the initial extraction and you can select various ways to view the results.

Next I use the red ‘Fill’ option to select the areas to remove. Here I have traced around the model and her hair using the blue brush, containing the green within these boundaries. The default on opening the program is that everything is filled in green (keep). This is, however, most often not the case as ReMask does an exceptional job of problem solving. When I first started using ReMask I mistakenly thought that the more precise you were in prepping the image with these brushes, the better job ReMask would do. The blue areas are where the program works the hardest, deciding what the boundaries for what is kept and what is removed are. The basic brushes in are Green (keep), Red (cut) and Blue (compute). This is where you select what you want the program to compute. Since the work will be saved on a layer mask it is then easy to move the layer mask to your original (un-adjusted) layer. This accentuates the contrast between your image and the background, making life a little easier once you open ReMask. I usually prep images using a Levels Adjustment on a duplicated background layer. This is really useful if you want to further refine the mask in Photoshop. Making a layer mask allows for your extraction work to be saved on the mask. If you do not do this, your saved layer after remasking will only be the extracted layer. For this tutorial, I am using the Plug-In since I want to take the image into Photoshop afterwards.Ī really important thing to remember before you run the Plug-In, is to add a Layer Mask to the layer you are on before you open ReMask. The latest version of Topaz Labs ReMask (5) can be run either as a stand-alone program or as a Photoshop Plug-In. I chose this image (from Colourbox) as an example because it is problematic in 2 main ways: the colour at the edges of the dress are very similar to the background the hair is highly detailed and difficult to extract. Topaz ReMask makes light work of extracting images even images with high demands on extraction. Written tutorial by Caroline Julia Moore:

Topaz remask 3 code#

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