• Hello everyone, and today we are going to see a situation that .
• It has happened to me that .
• when I started the photo shoot of the turbiritual, which .
• was canceled, and when I finished it, or when I had to .
• do some additional after having done the interior, it had cleared and had come out alone, then let's see how to replace this sky with another one .
• First I'm going to bring the sky that .
• did when I went up to the roof for example, where I have a fairly straight horizon in the middle of the photograph, then I will use the same real sky, although .
• we can have a bank of skies from other places that .
• may coincide in our project .
• In principle I'm going to drag the sky layer below the original photo, and the original photo I'm going to give control A to select all, control C to copy, and I'm going to give the .
• mask symbol .
• With alt, I'm going to click inside the mask, and with control v I'm going to paste the same photo .
• As you can see the masks are shown in grayscale, if we go back to the photo we will see what .
• It is transparent and what .
• is opaque, we go back in with alt in the mask, alt and click on the mask, and activate the levels with control L, we are going to make that .
• the sky is white and the stage is black so that .
• we can retain the real scene, but replace the sky .
• We have to .
• try that .
• This transition between heaven and what .
• we are going to keep it as abrupt and differential as possible .
• The closest thing here doesn't leave us much more, we don't have to .
• worry about the details down here, nor dissipate details of some cloud that .
• has been left .
• Which .
• We are interested in the transition between the building and the real horizon. .
• we will preserve and the sky .
• As you can see here are some areas where .
• We have not achieved the first one, but here yes, this is a very differentiated edge, and here for example it happens to us that .
• Of course the building has light colors and you can't differentiate them. .
• If we give asift inside the mask we deactivate it, then the color difference between this sky and this building is not the same as .
• between this sky and this building .
• We enter the mask and here when the shapes are straight with the selection of the deadline we can go to make the silhouette of our stage and the rest of the edge we go out of the canvas, we have to .
• fill in everything with black .
• There is inside the selection, we click here and we have black as secondary color and with control and delete we fill the selection with black .
• The sky, for example, has been left to us .
• the same, we change the secondary colors, but white, subtract and here we have it .
• a slightly blurred area, we deactivate and need to keep this transition .
• So we come here, we copy, we can also use the brush with a high hardness, we are painting white and we would already have our mask to act, we need that .
• or the other way around, we go to the control mask and invert and we would have our stage and below it the sky layer, as a final detail, if we see the transition a little with saw teeth, .
• We can enter the mask and apply a blur filter. .
• Gauciano with very little to do .
• blur the transition and it remains .
• as integrated as possible .
• So far a quick and effective way to replace one sky with another, I hope that .
• It has been useful to you and we will see you in the next one. .