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:
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