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Manual for Windows - VertusTech · Vertus Fluid Mask 2.0 Manual for Windows Local . Vertus Fluid...
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Vertus Fluid Mask 2.0 Manual for Windows
© 2006 Heligon 1
Manual for Windows
Vertus Fluid Mask 2.0 Manual for Windows
© 2006 Heligon 2
Introduction to Fluid Mask Manual
Vertus’ Fluid Mask software is a set of advanced paint tools that cut out highly
complex images with absolute precision. Designed to make life easier for
everyone who needs to mask images, it offers an intuitive, accurate and fast
approach to cut-outs.
The software automatically detects even hard-to-see edges within the image and
pours the mask right out to each edge, giving the user much greater control over
the cut-out.
Using Vertus’ Fluid Mask 2.0 displays the image as a series of clean and smooth
objects using the Edge Overlay view which can be selected and grouped together
when masking. These objects are also “smart” as they contain information about
edge morphology – helping to create high quality blended edges for your cut-
outs. This makes masking similar to coloring by numbers.
Fluid Mask 2.0 uses breakthrough technology which mimics the way the eye,
optic-nerve and brain perform visual processing. When opening Fluid Mask, the
software automatically makes an analysis of the image metadata about texture
change, edge and color information within the image. This is used to locate edges
when painting masks and blending edges.
You can see the benefits of this approach when you try these:
• Hair and fur - Try cutting out lattices
• Speed – Use “One-MaskTM and the “Edge Overlay” view
• Control – Invoke the “Region Editor” for better color selections
• Quality – Use “Auto-Complex” for automatic edge characterization
and
complex masking
• Ease of use – Checkout the intuitive “Edge Detection Options” and the
“Edge Overlay”
Vertus Fluid Mask 2.0 Manual for Windows
© 2006 Heligon 3
Contents This Manual covers:
• How to get started – Download and installation
• An introduction to the product – Tools and features
• Using the product – Applying masks, adjusting the “Edge Detection
Options”, using regions, forcing an edge
Throughout the Manual you will see - Top Tips signs. These offer useful tips
and alternative ways of doing things that will help you to create great cut-outs.
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Getting started
Download Please download Fluid Mask at
http://www.vertustech.com/fm_freetrial.htm
Installation Download the installer file for Windows from the link above and save it to your
computer. Double click the file. The installation wizard starts automatically.
Follow the on-screen instructions to complete the installation. Fluid Mask will be
automatically installed into the Plug-ins folder of Photoshop.
Fluid Mask is started through Adobe Photoshop. You can find the link to start the
software in Photoshop under > Filter > Vertus > Fluid Mask. When you open Fluid
Mask for the first time you are prompted to make the choice between running
Fluid Mask as a demo (limited functionality) or activating it fully using your Serial
Key. If you choose to open it as a demo you may later enter your Serial Key to
activate it fully.
Please note:
For non-English versions of Photoshop the name of the Plug-ins folder is localized
into the native language. The automatic installation process does not take
account of this. Instead it will create an English Plug-ins folder and install in to
that.
In this circumstance, use the following installation process to make Fluid Mask
available in the menu > Filter in Photoshop: When the installation process starts,
please use the manual install option in the installer and select the localized Plug-
ins folder inside your Photoshop application folder. Then continue and complete
the installation process.
Activating Fluid Mask with your new Serial Key
Registering Fluid Mask at First Use
If this is the first time you have run Fluid Mask from download, the registration
wizard will appear automatically when you load your first image from Photoshop
and invoke the Fluid Mask plug-in from the Filter menu on the toolbar.
1. Make sure you are connected to the internet.
2. Simply follow the on-screen instructions to activate the full version of Fluid
Mask remembering not to indicate that you want to run the software in
Demo mode.
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Registering from Demo Mode
If you are running Fluid Mask in Demo mode, to register the product and unlock
the full version you should:
1. Make sure that you are connected to the internet.
2. Click “Help” from the toolbar and from the drop down menu select “About
Fluid Mask”
3. Click the button marked “Register” and the registration wizard will appear
4. Follow the on-screen instructions to activate the full version of Fluid Mask
Please note that your computer must be connected to the internet when
you register Fluid Mask as it needs to register with an online database.
An alternative online registration, e. g. from a different computer, or
offline registration is not possible.
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A tour of the product features The first part of this Manual takes you through the tools, tabs and options to
make you familiar with the product features. These are also available to you as a
Quick Guide from “Manuals and Tutorials” on our website at:
http://www.vertustech.com/fm_tutorials.htm
It may be useful to print off the Quick Guide as a reference when first starting
Fluid Mask and when looking through the rest of this Manual. The Quick Guide
also shows short-cut key strokes which are not included here.
View tabs There are three convenient view tabs in Fluid Mask which make it easy to follow
the cut-out process, from start to finish: Source, Workspace and Output. The
Source tab contains the original image. The Workspace tab is where you apply
masks. The tab Output tab contains the cut-out you create.
There are three types of mask
may be manually or automatically applied to an image:
Keep mask – by default indicated bin
green, masks the area that you want
to keep
Delete mask – by default indicated in red, masks the area to be deleted
Complex mask – by default indicated
in blue, the complex mask comprises
mixed Keep and Delete pixels at the
edge of the object (this mask is added
automatically when the other two are applied in close proximity)
Output – final cut-out
Workspace – mask application
Source – original image
Mask Opacity – to adjust the
level of all mask opacities
Edge Overlay – to display the object
edges Fluid Mask finds within the
image
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Create Region – (see later) selects
an area of the image requiring
detailed work
Tool Set
Colors – the colors are used to
indicate Keep, Delete and
Complex masks
Complex – exact pencil, local and
global brushes to apply complex
mask
Zoom – Zooms in and out of the
image when working on fine detail
Exact Pencil – masks only
the pixels you paint
Global Brush – covers all the
pixels across the whole image
that are similar to the colors and
texture of the pixels you paint
Eraser – removes mask
Smooth – smoothes jagged edges of mask
Force Edge – forces a mask
barrier when Local Brush doesn’t indicate an edge
Select Region – selects and
moves Regions
Pan – lets you move the around
your image with ease
Create Cut-Out – creates a final
cut-out
Background Toggle – alters
the appearance of backgrounds:
Transparent – the background as
the traditional Photoshop checkered
background Color – shows the
background as a specific color
Double click on the color
square to alter the color
background. Use heavily contrasting
background to pick out any pixels
that may have been missed in the
masking process.
Test Render – previews sections of
the cut out before performing
a full cut out
Continually drag marquee over
area of interest as you work for
quick snapshots of your work in
progress – gives you confidence in
your masking and ensures no
upsets at Create Cut-Out stage
Clean – cleans up speckles (holes)
within mask selections already
made
Local Brush – masks all the pixels
of a similar color in the immediate
area that match the pixels you paint
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Tool controls Using most tools in the main tool will invoke the “Tool Options” window to be
active. This offers options to adjust variables such as the brush size or strength.
The sample below refers to Local Mask Brush controls.
Navigator As with Photoshop, you can use the Navigator panel to zoom and move about
your image.
Include masks – applies
new mask to colors already assigned to a mask
Brush size – adjusts the pixel
size of the selected brush
Auto-Complex – (see later)
adjusts the relative amount of
automatically applied Complex
mask or turns the feature off
Auto-smooth –
smoothes jagged edges
of mask automatically
Image – thumbnail of your
image
Window ratio – red boarder
indicates the section of image
visible in the image window
Zoom – zooms in and out of
the image using the zoom slider
Brush strength – adjusts the
amount of mask the selected
brush will apply
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Edge Detection Options The “Edge Detection Options” Panel offers various settings that control the
masking process in Fluid Mask. The adjustments you make in the “Edge Detection
Options” panel allow you to refine the information about an image that Fluid Mask
uses to detect edges and find objects within the image. The results of the
adjustments you make are new object boundaries. The image objects and their
boundaries are then visible in the “Edge Overlay” view. The “Edge Overlay” view
can be activated/deactivated in the main window of Fluid Mask through activating
the check box at the bottom (see screenshot page 6).
Edge Sensitivity – Increase the
sensitivity to find more edges
within the image.
Increase to maximum and
every pixel becomes an edge.
Switch off the “Edge overlay” and
adjust brush strength to control the
size of your selections.
Workspace resolution – To make masking faster the source image
can be downscaled. You can set the number of source pixels to
workspace pixels ratio here.
The output tab always remains at full resolution so that the cut-out
generated does not loose any detail.
Texture Filter – controls the
texture analysis.
Fine – helps to accurately select
many small objects (e.g. leaves
against sky).
Coarse – is useful to prevent
detection of lots of tiny objects (e.g.
blades of grass) by treating those
areas as uniform patches of
texture.
Edge Contrast – specifies how
much difference in color there is
across edges in the image.
Low - helps to find edges between
objects of very similar color.
High- is useful to speed up cutting
out simple images by reducing the
number of edges.
In-Focus Edge Width – here you
can specify the width (in pixels) of
an edge between two objects that
are in sharp focus.
Zoom right in on the image to
see how wide the edges really are.
In large images it can be 10's of
pixels.
Reduce the width to find more
edges in the image.
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Region Editor Select the Region Tool (Rectangular or Polygonal selection tool) from the Basic
tool palette to open the Region Editor.
The Region Editor is used for fine tuning and complex detail (See below). It
allows you to move colors within a selected region from one mask to another, or
to assign unallocated colors to one of the masks. This is helpful in case you
applied a Keep or Delete mask to an image but some pixels of certain color
(around a blurred edge, for example) were marked by the wrong mask. The tabs
“Keep”, “Delete”, “Complex” and “Unassigned” will show you to which mask the
color in the region you marked has been assigned.
Region color palette –
colors within the selected
region
Selected colors – colors
selected within the Region
Editor and waiting to be
assigned to a mask type
Number of colors – reduce or expand the color
detail when working with large regions
Assign to Complex mask – apply
Complex mask to selected colors
Assigned color palette – colors within a
region that have been assigned to a mask
type
Unassigned color palette – all colors within a
region that have not yet been assigned to a mask
type
Sort colors – organizes
the colors into 1D or 2D
views
Assign to Keep
mask – apply Keep
mask to selected colors
Assign to Delete mask – apply
Delete mask to selected colors
Turn on/off Auto-Complex within a region – turn off
Auto-Complex to prevent automatic movement of mask
assignments
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Using Fluid Mask 2.0
This section looks at how to use the product concentrating on several key areas:
• Making mask selections and creating a cut-out
• Adjusting the Edge Detection Options to improve masking of difficult images
• Using Regions for detailed color based selections
• Forcing an edge as a last resort
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Making mask selections and creating a cut-out The key to making a good cut-out is to make good mask selections. If the
selection is wrong the edge blending will be wrong.
For the first few times you use Fluid Mask, experiment with different selections and
settings for your brushes and use “Test Render” tool from the main tool box to review the
results. You can use Test Render even if you only apply One-Mask (see Quick Cutting in
the Tutorial)
Making mask selections
To make any cut-out you need to apply three different mask types:
• Delete mask in red to mask all those areas of the image to be deleted
(or background areas)
• Keep mask in green to mask all those areas of the image to be kept (or
foreground areas)
• Complex mask in blue to mask the edge areas contaminated by
foreground and background colors
Note: these representative colors may be changed using Fluid Mask preferences
in the menu > Edit > Preferences. However in this Manual the masks Delete,
Keep and Complex are always indicated using red, green and blue.
There are two paths you may take to cut out images.
• The first is quick cutting using One-Mask™. Paint all of either the Keep
or Delete mask and then press the button “Create Cut-Out” in the main
tool box. Fluid Mask then Auto-Fills the remaining two masks and cuts the
object out. This is the quickest and simplest way of making a cut-out.
Using One-Mask™ makes sure that only one of Keep or Delete masks have
been painted otherwise the operation will not auto-fill and revert to three mask
cutting
Alter the amount of automatically applied Complex mask applied in the auto-fill
process by adjusting the auto-complex settings in the brush tool options
You may separate the auto-fill process from Create Cut-Out using Auto-Fill
Image from the Image Menu
• The second path is by painting the Keep and Delete Masks. It’s a slower
process but you have more control over the masking. When Keep and
Delete masks are painted close together at an edge Complex Mask is
automatically created (see Auto-Complex mask below).
Auto-Complex masking
Auto-Complex masking paints Complex Mask over the edge between Keep and
Delete masks and adjusts the position of the Keep and Delete masks
automatically. The thickness of the Complex mask and position of the other
masks is determined by the character of the edge and which data Fluid Mask
retains at the boundary of each object. A thin Complex mask will apply to hard in-
focus edges, a thick Complex mask will be applied for wider defocused edges.
Further, the relative amount of Complex Mask may be adjusted using the Auto-
Complex settings (see screenshot page 14). Usually the thick Auto-Complex setting is
the appropriate setting for most images as it will create thin Complex masks on in-focus
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edges. But should the background be complex and interfere with the blend of the edge, or
the image resolution be poor and the edges display compression artefact, or you are
working with fine lattices (e. g. trees) then it is best to reduce the level of Auto-Complex
masking and use the Thin and Medium settings. The Auto-complex Masking may also
be turned off.
Don’t fall into the trap of changing the overall thickness of the Auto-Complex masking
to alter the mask in one area; otherwise you’ll throw out all your masks. These kinds of
“local” changes need to be made by reverting to the Workspace and manually adjusting
the masks using combinations of brush strokes, Auto-Complex settings and the Include
Mask check boxes in the Tool Options.
Painting mask using brushes
There are three brush types to apply mask in three different ways.
Exact
Applies mask to only the pixels you paint.
Local
Masks all the pixels of a similar color and texture in the immediate area that match the
pixels you paint.
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Global
Covers all the pixels across the whole image that are similar to the colors and texture of
the pixels you paint.
Brush options
Each brush type has a number of options that can be adjusted to help your
masking:
Adjust brush size (common to all brush types)
Adjust the size of your brush by pixel adjustments.
Adjust brush strength
Brush strength determines how far your local mask selections will “grow”. Use it
to determine the correct strength for the image and task.
When the brush strength is at its minimum the local brush acts just like a flood fill
going to the nearest object edge within the image. Turn on the check box “Show Edges”
(Edge Overlay) at the bottom of the main window in Fluid Mask to see exactly the object
edges in the image have been detected by Fluid Mask.
Holding down Ctrl when you release the mouse at the end of painting a mask gives
you a weaker brush. This can save you from having to change brush strength too often,
and makes working with hair and complex areas containing many colors easier.
Auto-Complex controls
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To find accurately edges of very complex shapes such as hair or fur, set the edge
sensitivity to maximum (20) in the Edge Detection Options panel and click Apply. This
turns every pixel in to an object (you will need to turn off “Show Edges” by pressing F2).
Now rely on the brush strength to control how large your selections are. This is particularly
useful with the Global brush for selecting complex lattices such as trees.
Re-masking – making mask selections which overwrite areas already
masked (common to all brush types)
By default you may only mask areas which have not already been masked
(unassigned areas). This may be over-ruled to allow you to overwrite existing
mask selections by selecting the check boxes in the Tool Options of each brush by
selecting Include Keep, Include Delete or Include Complex.
Invoke Auto-Complex (common to all brush types and Test render)
The width of the automatically applied Complex Mask (see above) is dependent
on the character of the edge but can be adjusted into: None (turns Auto-Complex
off) –Thin – Medium (default) – Thick.
Invoke Auto-Smooth (Local and Global brush only)
Automatically performs the smooth function as a mask is applied. (see Smoothing
a mask). The amount of smoothing is controlled from the smooth tool options.
Smoothing a mask
Use the Smooth Picker in the main tool box to smooth jagged edges of the
selected mask. The smooth picker’s strength can be adjusted using the slider in
the Tools Option panel. Previous selections may also be smoothed from the
Image Menu.
Cleaning a mask
Use the Clean Picker to remove small holes from within the selected mask. The
Cleaning Picker’s strength may be adjusted using the slider in the Tools Option
panel. Additional clean operations may be performed from the Image Menu.
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Adjusting the Edge Detection Options to improve masking of difficult images There are a number of options that control the image analysis found in the Edge
Detection Options panel. When loading an image into Fluid Mask, the program
attempts to estimate sensible default values for an image. However, due to the
huge range of images it is sometimes necessary to adjust these values manually
to achieve a better result in edge detection.
The Edge Overlay shows you clearly what edges have been found and whether
you will need to adjust the values to help you mask the image.
It is worth spending time getting to understand how changing the different
options will affect the edges found. The Edge Overlay is there to help you.
The mask you have already laid down is preserved when the Edge Detection Options
are changed. This allows you to work on each part of the image using the most appropriate
values for that area by changing the settings as you go along.
After changing the value of the options please click on “Apply” in the Edge
Detection Options panel to start the re-analysis of the image.
The button “Revert” restores the values of the options most recently used to
analyze the image.
The button “Defaults” restores the default values for this image.
Use F3 to change the
style of the edge overlay
(here to white) so that the
edges are clearly visible
against the colors of the
image. Use F2 to turn the
overlay (check box “Show
edges”) on and off.
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Adjusting Workspace Resolution
Fluid Mask measures your computer’s performance and ensures that the Work-
space resolution used allows for acceptably quick mask selections (large images
tend to slow Fluid Mask down at full resolution). It does not affect your image as
the mask resolution is subsequently matched to your image at the Create Cut-Out
stage.
Adjustments to this automatic process may be made in the main menu under >
Image > Preferences. You may either set the automated resolution setting for
Speed of Selection (lower resolution and the default) or Greater Detail (higher
resolution).
This automatic process may be over-ridden in the Image menu or the Edge
Detection Options panel. Primary reasons for undertaking this are:
• Improving masking around very wide defocused edges (reduce image
resolution)
• Improving edge selection where colors are very similar either side of the
edge (increase image resolution)
• Reducing image noise (reduce image resolution)
• Improving detail in the Workspace (increase image resolution)
When the image is first loaded into Fluid Mask, use the Edge Overlay view to check
that (object) edges coincide with those of the target area to be cut-out. Also, try masking
an area with difficult edges and use the Test Render tool to see if the masking is accurate
and preserves enough detail at the edge. It could be that improvements to these may be
made by adjusting Workspace resolution rather than using other Edge Detection Option
settings at the same resolution.
Please note: that changing resolution has to remove any mask you have already
laid down and it is not possible to restore the lost mask unless you save the
workspace from the File menu. Fluid mask will warn you of this before changing
resolution.
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Adjusting Edge Sensitivity
The most common and obvious adjustment you will want to make is to the edge
sensitivity. To find more edges in the image simply increase it. To find less edges
decrease it.
For simple images turn down the edge sensitivity until just before the edges you
want to keep disappear. This will show a minimum of objects to mask within the
image and will allow you to apply the appropriate masks faster.
For complicated images with lots of detail, such as trees, grass, hair, feathers or
fur it is often necessary to turn up the edge sensitivity a long way. This can make
the edge overlay hard to use (because it obscures most of your image) and can
make laying down mask slow because only small areas of the image are selected
at a time.
To overcome this turn off the edge overlay and increase the brush strength.
When the brush strength is increased the local and global brushes will select
more at a time, flooding into areas of similar color and texture to the area you
paint.
For cutting out complex lattices such as trees against sky turn the edge
sensitivity up to maximum and find the appropriate brush strength to use with
the global brush.
If Edge Sensitivity only is changed in the Edge Detection Options panel the analysis of
the image is faster than if any of the other options are changed.
Adjusting In-Focus Edge Width
The In-Focus Edge Width is one of the most important options in order to improve
the results of edge detection. The width of an edge between two objects depends
on how in or out of focus the objects are and how large the image is.
Fluid Mask attempts to estimate the In-Focus Edge Width based on the size of the
image. However this is often incorrect since the image may be just a zoomed in
part of a larger image. It would be hard to determine this automatically.
To work out what the in-focus edge width size, zoom right in until you can count
the number of pixels wide across a typical in-focus edge.
By adjusting In-Focus Edge Width you can find more or less detail in the image. To get
rid of fine detail increase the edge width, or to find more detail decrease it. Beware of
decreasing it unnecessarily for large images since it will slow the analysis down and
require a great deal of memory.
Adjusting Edge Contrast
A low contrast image is one in which background and foreground colors are very
similar. For example an image shot in poor lighting conditions. Even if the lighting
conditions are good, it can be hard to detect the boundary between dark objects
and their shadows (such as tires of a car) because the contrast across the edge is
very low.
In such situations setting the Edge Contrast to Low will help at the expense of a
slightly slower analysis. In general this will increase the number of edges found in
the image.
Alternatively for high contrast images it can be faster to work with the image by
increasing the Edge Contrast to high. This will tend to find less edges in the
image.
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Adjusting Texture Filter
A powerful part of Fluid Mask's image analysis is its texture filter. You can set the
relative size of repeating patterns in the image that will be considered as uniform
areas of texture.
Images of natural scenes, for example, often contain areas of grass of leaves. To
preserve the fine detail of individual leafs or blades of grass set the Texture Filter
to Fine. On the other hand to amalgamate all these small objects into uniform
areas of texture that can be grouped together change the Texture Filter to
Coarse.
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Use Regions for detailed color selections Regions are an alternative means of applying a mask. Rather than mask by
selecting pixels, as with the brush tools, the Region Tool allows you to mask
areas by selecting colors.
In addition, regions may be used to constrain the effects of a brush tool. If a
brush selection is started within a Region, its effects will be confined to the area
covered by the Region.
Creating Regions
There are two forms of Region created by different tools:
Click on the desired Region type and draw the region in the Workspace. When
draw, the “Region Editor” will automatically appear, containing all the colors in
that region. The colors will be shown in the three different tabs “Keep”, “Delete”
or “Complex” depending on what mask has been applied to them before, or under
the tab “Unassigned” when no mask has been applied to those colors yet.
It is possible to create as many regions as needed.
Use the Select Region Tool to
• activate an existing Region. Double click within the Region for it to
maximize to the full size of the Workspace window
• adjust a Region’s size by pulling at the corners
• move a Region
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Using the Region Editor When a Region is created or selected, a palette of the colors of all pixels within
the Region is created in a Region Editor. These are sorted by mask status.
By highlighting colors in the Region Editor, corresponding pixels in the Region are
highlighted in yellow.
These selections may be altered to another mask status by clicking on the colored
buckets at the bottom of the Region Editor. Clicking on the green bucket assigns
the selected colors to the Keep mask, the red to the Delete mask and the Blue to
the Complex mask.
Select a region – drag a
marquee over the area to be
worked on
Region Editor appears –
the Region Editor is
automatically launched
displaying all the colors in the
selected region
Selected colors indicated –
selected colors are high-
lighted on the image
Select one or many
colors – colors can be
selected in groups or
individually within the
Region Editor
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The appearance of colors may be organized into 1D or 2D views using the drop
down menus at the bottom of the Region Editor. The color palette may be further
managed using the Number of Colors slider that resolves all pixel colors into
increasingly fewer ones.
Experiment with the Number of Colors slider to find the optimum palette
management, enabling you to make great selections
Using Regions to constrain actions
Another feature of the Region is that it acts as a boundary to certain actions:
• A Region will constrain any selection (Exact, Local or Global) made within it.
• Auto-Complex Masking may also be turned off within a Region but still be
applicable elsewhere.
Forcing an edge as a last resort Sometimes it’s necessary to mark an edge. This might be because the edge is not
visible, or the Local Brush cannot “find” it despite the adjustments made above.
To do this we use the Force Edge tool
Mask then appears in
Workspace – Here, as the
selected colors are assigned to
the Delete mask, the selected
pixels change from Yellow to Red
in the Workspace
Tab views in the Region Editor
- view colors within the Region
assigned to each mask type
and those colors still
unassigned using the Tabs at the
top of the Region Editor
Assign colors to mask type –
apply mask by assigning selected
colors to the correct mask
“bucket” – in this case the
selected color is assigned to
Delete mask
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The Force Edge tool creates an explicit edge between two areas preventing
subsequent Local Brush strokes from “leaking” across the edge. The edge line
includes anchor points which can be picked-up and moved using the Select
Region pointer tool.
Next steps Try the step-by-step tutorial on some of our example images or test Fluid Mask
on an image of your own.
For other hints, tips and problem solving visit our website at www.vertustech.com
and go to the Cut-out Gallery. There you’ll find examples of great cut-outs and
advice on how they were achieved, all submitted by Fluid Mask users. More
support from the team at Vertus and other Fluid Mask users can be found in our
Vertus’ community forum. You can reach the forum through our web site.