- [Narrator] In this movie I'll introduce you
to the remaining blend modes,
starting with overlay and ending with luminosity.
Alright, so I'll go ahead and click on the head
to select it.
And remember, that the edges are hidden
if you're working along with me.
But you can always bring them back by pressing Control + H,
or Command + H on the Mac.
I want to keep them hidden, so I'll go ahead and
press that keyboard shortcut again.
And then I'll click on the word opacity
and I'll click on screen right here
to bring up the blend mode pop-up menu.
Now as I was saying,
multiply is your ultimate darkening mode.
Screen's your ultimate brightening mode.
These guys, overlay through hard light,
all combine both of those modes together
in order to create a heightened contrast effect.
So we'll start with overlay,
which tends to be the most flexible of the three.
Although again, because they're based on multiply and screen
they're all going to deliver smooth results.
Alright, so notice in the case of overlay
that we're darkening the background with our darkest colors,
and we're brightening the background
with our brightest colors.
That is to say, the darkest and brightest colors
inside the face.
And the other colors emerging according to
their luminous in-between.
We're also heightening the saturation of the colors.
So that's important to bear in mind.
But the ultimate thing is that
the luminous levels are being compromised.
That is, the shadows and the highlights
are being compromised by the background image.
So when you select overlay,
the background is more powerful than the selected object.
And we'll come back to exactly what that means in a moment.
Now if you want a more subtle effect,
you can go with soft light.
Now it's popular to think that soft light
is a reduced-opacity version of overlay.
That's simply not true.
It is a unique effect.
It employs very different math.
And it does generate a truly softer effect,
as we're seeing right here.
Now if you want to increase the contrast
beyond what you get with overlay, then you want hard light.
Which, notice is going to keep those blacks
in the hair and the collar,
as well as the very bright colors in the flesh.
It's also going to give us some of those
heightened saturation values that we saw with overlay.
But just as overlay gives more power to the background,
hard light gives more power to the foreground.
Which is why, in very real terms,
hard light and overlay are opposites.
Let me show you what that means.
Right now, I've got the image set to hard light.
But I could grab that gradient background
and put it in front of the image,
then unlock it and click on that gradient to select it.
And then if I were to go up to the opacity setting,
which, as I was telling you, shifts around up here
in the control panel depending on what's selected.
And if I were to change it to overlay this time around,
which is going to give more power to the background image.
Which, in this case, is the place photograph.
You can see that we get the same effect.
So setting the gradient to overlay produces the same effect
as setting the image here to hard light.
Which is the way it's set right now.
So notice nothing appeared to change on-screen,
even though I changed the order of the layers
here inside the layers panel.
Now the reason that we're not worried about the fact
that the gradient now has a blend mode associated with it
is that there's nothing behind it.
Blend modes only blend with stuff in the background.
If there is no background, then the object on that layer
is treated as opaque.
In other words, it's basically automatically
subject to the normal mode.
But the image is still selected.
You can see that here inside the layers panel.
And you can see it if I press Control + H,
or Command + H on a Mac,
to bring back those edges.
Anyway, I'm going to hide those guys.
So there you have overlay through hard light.
We'll be seeing more of those guys in the future.
Next we have difference, which is the first inversion mode.
And what it does is it uses the luminous levels,
once again, from black to white
in order invert the image in the background.
Now black doesn't have any effect.
So you can see it ends up dropping out.
So we end up with this floating head effect once more.
Why it ends up inverting absolutely,
and the brighter the colors are,
the more inversion that takes place.
So as you can see here,
the opposite of deep violet is bright green.
And so we're getting a color inversion inside the image.
If you want to brighten things up a little bit
and get rid of some of the harsher color transitions,
you can try exclusion.
Now in many ways, exclusion is a kind of compromise
between difference and screen.
Which is why we're still getting
that floating head effect here.
And so I want you to see the difference.
This is the screen mode with its uniform colors,
and this is exclusion which has a lot of similar makeup
where the luminous levels are concerned,
but we get these inverted colors in the highlights.
Alright, so rule of thumb.
Difference, pretty darn useful.
It's great for achieving inverted text effects,
as we'll see in a future movie.
Exclusion is kind of that effect you choose
if you thought difference was going to work and it didn't.
And so you figure you'll try this instead.
That's pretty much it.
Alright, next we have got hue through luminosity.
And to understand them, we have to take a look
at the color theory that we reviewed
back in chapter six of the fundamentals course.
You may remember that hue is the core color.
So it's the color that we're seeing represented
around this big color wheel,
starting with red and then ending back in red.
Saturation controls the intensity of the colors,
starting at no saturation.
That is gray here in the center.
And ending up with vivid colors
around the edge of the circle.
Now this next item talks about brightness,
which goes from bright color to black.
We'll be looking at luminosity, which is very similar,
but it goes from white, through all the colors, to black.
And so that's where we're going to start,
because it's the easiest one to understand
in the case of the selected image.
So I'll click on opacity, click on exclusion,
and select luminosity.
And what that's going to do is keep the luminous levels,
the various shades of brightness.
Starting with the shadows, going through the midtones,
and ending with the highlights.
But we're going to keep the color of the gradient
in the background.
So everything is going to look purple.
And just for the sake of comparison,
here's normal, which is a colorful version of the image.
And here's luminosity, which still has
all those luminous levels, but we're throwing away
all the color and we're giving it to the background.
If you want to do exactly the opposite,
then you would choose color.
Now that's going to be less effective
where the photographic image is concerned.
Because we're throwing away all the luminous levels
inside the image and we're just applying the color.
Which is why we're losing all the color in the hair,
and in the eyes, and in the collar here
where the image is black.
And we're losing stuff in the eyes and the forehead
where the image is almost white.
Color and luminosity are opposites, however.
So if I were to scroll down
to the gradient layer once again,
drag it in front of the image layer,
and select it by clicking in the gradient.
And then go up to this opacity option,
which is shifted around again.
And I were to switch to color,
I would get that same effect we were seeing with luminosity
where the image is concerned.
Because we're keeping the color of the gradient,
and the gradient is very colorful.
And we're keeping the luminous levels,
the opposite of color, from the image below.
Alright, I'm going to grab that gradient layer
and throw it down below once again.
And then I'll click on the image itself to select it.
And we'll take a look at these last two guys,
hue and saturation.
They are the components of color.
And so if you were to select hue, you would get
all the bright saturation levels from the gradient.
So we're still keeping the luminous from the gradient.
We're also adding in its saturation values.
The only thing we're getting from the image
is the hue values.
And as a result, everything is super saturated
because the background is saturated.
If you wanted to do the opposite,
just keep the saturation levels from the image
and blend them with the hues and the luminous levels
from that gradient background.
Then you'd choose saturation.
That is not going to be a very powerful effect
where a photographic image is concerned.
And you can see we're just dropping out saturation values
all over the place.
We really only have some hot zones in the lips,
and a little bit in the eyes.
I hate to leave it there at the end of the movie,
so I'll go ahead and switch back to luminosity.
Which is, perhaps, most evocative
where this image is concerned.
Remember that you can mix any of these button modes
with the lower opacity value.
And so if I were to tap the 5 key by virtue of the fact
that I've installed D-keys,
then I would combine the luminosity mode
as we can see over here in the transparency panel,
with an opacity value of 50%.
And that, friends, is how you work with the last half
of the blend mode pop-up menu.
Starting with overlay and ending with luminosity.