However, while the rest of the interface has been moved to a CS3-style panel structure, the Color Workspace and Patch controls are in floating palettes that often get in the way.
Then use Patches to fine tune problem areas. Patches allows you to work on nooks and crannies and tufts of hair individually without ruining the rest of your image.įor example, when cutting out a full-length shot of a person, you'd use the 'painting-by-numbers' technique for their clothes, then use the Patch tool to paint on their hair. The new Patch tool lets you mark out areas and work on them without affecting the rest of the image. The Color Workspace provides an excellent way to touch up areas that are too small or fiddly to do using Fluid Mask's other tools, or even manually. You can then draw on areas to keep, remove or blend. It gives you a graph or colour map of two properties selected from hue, lightness, saturation, red, green or blue. The latest version of Fluid Mask adds the Color Workspace, which allows you to keep or remove pixels based on shade. For intricate details such as hair, you can paint areas as 'keep', 'remove' and 'blend', with it working out the detail in the 'blend' area. As before, the software will create a Web of similarly-coloured areas that you can select areas that you want to keep or remove in a 'painting-by-numbers' fashion, best for objects with hard edges. There are three main toolsets for creating cut-outs within Fluid Mask 3.0. Even as a Photoshop plug-in, Fluid Mask 3.0 is noticeably faster than the previous version. However, it can output only PNGs, so further processing is necessary before use in production. Using it as a stand-alone application is suited to creating a large number of cut-outs, as Fluid Mask runs faster without Photoshop running beneath it. Fluid Mask runs as a plug-in for Photoshop, as well as a standalone application.