How To Do A Face Swap In Photoshop
I'm gonna open this file. It contains a picture of a good friend of mine. This is Colin Smith. You guys may know him from Photoshopped cafes. One of the website has been around for a while now. I mean, teaches Photoshopped as well. He's got a YouTube channel. He also creativelive instructor. He thought a class on editing video and photo shop. So check that out here at CREATIVELIVE. But anyway, I have a picture of Colin, and I think he needs a new of Facebook profile photo, you know, because that doesn't look very good, right? So I figure that we need to put its face on that body. And I know this is gonna be a little silly example, but just look at the techniques, and I'm sure you can apply it into your own projects. So one of the ways that I like to use photo shop is by using tools in ways that you usually don't think about. So what I'm gonna do here is I'm first gonna make a selection of Colin's face using the lasso tool. So I'm just gonna press l on the keyboard and the selection doe...
sn't have to be too precise. I'm just going to click and drag selection around his face like so There it is. And then I compress command J Control J and the PC to duplicate that layer. So now we have that floating face. I can let me zoom in so we could see what's going on a little bit better. So now I can present V on the keyboard. Um, and here are just call this layer face just so we know it's a space and I can click and drag Collins face over onto the model. Obviously, it's too big, so we can bring down the opacity just so we can see what's behind it. And I compress command t control Tito transform and I get those handles. And I have the pivot point here in the middle that I can click and drag in place anywhere. So if I place it say here off to decide the image rotates from that pivot point, or it can scale from that pivot point. If I hold shift an option that shift adult on the PC and scales of that pivot point. So what I'm gonna do is I'm gonna place that pivot point here in Hiss I. And by the way, if you ever want to reset that pivot point, notice these boxes here. These nine boxes are actually buttons. So if I click on the centre one, the pivot point goes right back into the center, and then you have the other ones you can click on in the pivot point moves around. So notice if I click on the top left here now it rotates from the top left, click in the bottom, right rotates from the bottom. Right. So I'm gonna click in the center just to reset it. And then, actually, I'm just gonna hold option and old and click right there in the corner of his eye. The models, I Then I'm gonna place Collins face right in that corner there, and I'm gonna use the arrow keys on the keyboard to align improperly So right about there. So now I can rotate the face and try to match the same angle. That's best as I can, and I'm gonna scale that in again. Holding shift, an option shift bolt on the PC. And this may not be perfect, but we will try to match it as best as we can. So right about there. His face is directly over the models, and I know we have some of us. I guess this is cheap, boy. They're sticking out. That's OK. We're gonna fix that in a moment. I'm just gonna hit enter for now, and I'm gonna increase the capacity up to 100% and just make sure it sort of looks okay. I think it might be a little too big. Someone's gonna make it even smaller. So I'm gonna skill that in again, just a little bit. So bring the opacity down, bring it up, maybe move the head up a little bit. So I think, for this example is gonna be good. What I'm gonna do now is use the eraser tool, You seeing a hard brush just to erase areas that we don't want toe be part of the blend. So notice that part of his forehead here is going into the model's hair. We don't want that. So I'm just gonna just make a few adjustments here or if you delete a few pixels just so we could get a better blend. Okay, So something like that, what I'm gonna do now it's hold command in control to click on the layer thumbnail to make a selection around the active pixels on the face layer on Colin's face. Then I can go into select modify contract, and I'm gonna contract the selection by five pixels. Now, whatever numerical values I use only apply to the images that I'm using. So if you're doing this at home, you may need a higher numerical value. If you're using a larger image that when I'm using or a lower numerical value, if it's, ah, image that it's a lot smaller. So start with five and see what that gets you and what you're creating. It's essentially a selection like you had before, but it's pie pixels away from the edge of the layer. So there's a layer there and it's five pixels away. So that's what you want. It was, um, you then wanna come into the original layer there. I'm gonna fit to screen just so you could see what's going on. And I'm just gonna have to delete key to the lead, those pixels. Then I'm gonna, um, enable Collins face again and select the muscular manlier there, and I'm gonna go into edit. Oh, auto blend layers. Usually this is used to create panoramas of images. You probably used it in the past to just a stitch, a whole bunch of panoramas together. But in this case, we're going to use that technology of blending images and adjusting luminous values to create the face merge. So I'm just gonna press okay and notice the magic that Photoshopped that they're blended the image it you barely can see the seams and some parts you can like in his forehead. And that's okay. We can use the spot healing brush tool and just heal it like you would heal anything else or used the clone stamp tool. If I assume out, you'll see what that looks like. And this is just one example. Have another face swap example, and I'm gonna show you. But I mean, now, at least Colin has a new Facebook profile picture. So ah, lot of times you don't, Um And by the way I'm seeing here that I missed the eyebrow. Usually what you want to do is make sure that the eyebrows match, So I sort of miss that there. If that happens to you either your unfortunately, have to just undo the process and start over again and make sure that you include the eyebrow. But I just wanted to point that out that I did notice that I missed the eyebrow. Um, what I'm gonna do now is show you another face swap. But this in this case, you actually need to do a color match, even though on Collins image did a great job. Sometimes it's better if you try to color matches color, match the image before you do the face swell up. So we have this woman here, we're gonna try to place her face onto this man's body. So what I'm gonna do is again lasso tool. And I'm gonna go quickly here just because you guys already know how this part works. And I'm just going to duplicate, um, the image. But before I do that, let me just get rid of this part here and with the woman layer Selected command J control Jan the PC. There she is. And I'm gonna move her there and then do what we did before. Just make sure that the face alliance and I like aligning the corner of the I think it works well and try to match it as best as we can. So that's that. Seems like it'll work now before we do the blend, I want to show you how we can match on easy way of matching skin tones. This doesn't always work, but I like to try it because it's easy and a lot of times it gives you great results. So we have a face in the background, you know, I'm gonna do is going to image adjustments, match color. And I'm already going to tell you that this first time it's not gonna work. I just want to show you it not working. And then I'll show you why it wasn't working something about a match color and under source, you have to select the file that you're working with. In this case, we're working in a file called 03 Creativelive PSD. Here it is. And then select the layer that you're going to sample the colors from in this case is the man layer. And when I do that notice that it doesn't look very good, doesn't look good at all, and we can adjust the luminous color intensity and faded as much as we want. We're still not going to get a good result, and that is because in this predictor layer over really worried about is the face. But we're looking at the colors of the entire image. We have the T shirt that's wide. We have the background, this great. We have all these things going on and they're not helping the color match. So what you want to do is make a selection from the face, which is directly over his face. So that's where the colors were really trying to match. With that selection active, we can now go into image adjustment match color, and we can, um, select the same file, which is a creative life PSD and the layer the man layer. And there it is a much better color match, and we can adjust, um, the color of a better by fading it if we need to. And there it is. So it's ah, much better way of color matching than without having a selection, because you're targeting the colors that you're actually going for, which is which is his face. So from this point, we can just do what we did before make a selection around the layer by holding command that's control and clicking on the thumbnail loads. The selection going to select modify contracts so we can contract that selection again. Five pixels. It's fine. And then we can go into the original man layer here and just delete those pixels. So now we have a whole bring that layer down, enable it, and we're just gonna do the auto blend again. Otto, blend layers. Panorama. Checking these two boxes is fine pressing. Okay? And it does the blend. So noticed. Great. That blend work you might be thinking. Well, I'm never gonna be making fun of my friends on live on the Internet. Broadcasters of the world? Why would I need this technique for? Well, you might be taking photographs of, uh, maybe a wedding, maybe a party or something. You have a group of people and you have similar photos. But you know, somebody has their eyes closed. You know, there's something wrong with one person space, but it's the perfect photo. Then. This is one way that you can bring in that person's face onto the good picture. So again you might not be creating these effects. but use those techniques to help you in your work clothes. I noticed the sides of his her face are darker and they don't It doesn't look like it blends. Well, right. How would you go about blending? Okay, um, I guess I should explain something. So when you're when you're creating face lips like this, you have to make sure that a lot of things match. And a lot of times most things won't match. Just because you gotta have the right angle, you gotta have the right lighting. There's a lot of things that go into making sure that the face looks correct. Uh, make looks right. So what you would do in that situation is, um, I'll quickly show you, So we have, um let me just undo a few steps here. So, in a situation like you just described, you would have to just take a few more steps and then merges layers together so you would do things like maybe a little bit of dodging and burning, so you can create a layer that has 50% grace. I'll do that now. Shift delete brings up the fill window, and there's an option for 50% great. We press OK. It fills it with 50% gray. And with the burn tool, we can create shadows. And with the Dodge tool, we can create highlights. And then using these blend modes here, overly or soft, light weaken, sort of ad highlights and shadows. So the image you can sort of see what I just did there. How it apply those highlights and shadows. So you would essentially take a layer with 50% gray like I just did there. And let me just move this off to the side and just actually just Philippa 50% gray again. So, um, remove that. So what you would do is clip it to the layer below it. Command G groups. Uh, I'm sorry, command Option G, so that this 50% layer only affects the layer directly below it. And now we can go in there and start adding shadows and things like that so that it matches a little bit better and again, it's gonna be really difficult because people have no job, bones and things like that. So you you probably never gonna get it 100% right. But from in most situations, it's It's okay. It's harder like this in a situation like I explained earlier, When you're taking your essentially doing face swaps from the same person, it's less of a problem, especially if it's the same lighting and sort of a similar angle. It becomes much less of a problem. It Zamora problem when you're essentially taking a stock photo, putting your friends face on it. But, yes, this is what you would do. We just had highlights and shadows to different areas to sort of match the original when it's best as you can.