![]() Alongside the three intuitive colour wheels in the Color Grading panel you’ll also find a global wheel that makes it easy to add a single colour shift. So as well as tinting shadows and highlights, we can also shift colors in the mid-tones (of course, if you’d rather use two colors then you can just leave the mid tones untouched). But while the Split Toning panel only allowed for two-color tints, with Color Grading we instead choose three. As such, Color Grading is one of the best tools to use for boosting the atmosphere of a scene.Ĭolor Grading is a replacement for the old Split Toning panel and, like it’s predecessor, it lets you add individual colour tints to different parts of the tonal range of your image, based on brightness values. Rather than correcting, it instead invites you to add creative color shifts of your own in order to give an image a certain look or mood. Several of the other color tools in Camera Raw are geared towards correcting unwanted color shifts, but Color Grading is different. Before we can use the split-toning technique, we need to unlink the RGB channels.The recently introduced Color Grading panel is available in Photoshop’s Camera Raw plugin and Lightroom, and it’s one of the most powerful toning tools on offer. Once again, grab a reference still of your saturation adjustment and reset your node before heading to the Custom Curves tab.įirst, unlink the RGB channels by clicking the chain icon, allowing us to control the tonal curve of individual channels as opposed to a global adjustment. The technique I’ll use to accomplish this is called split-toning, which is really just using different types of curves within your color channels. In this case, rather than just increasing pure saturation, we’ll increase separation between colors and in doing so, create more of a sense of colorfulness in the frame. But let’s see if we can’t get as good or better of a result without ever reaching for our saturation knob at all. You’ve likely heard a client say, “Hey, I really want those colors to pop.”Īnd we’ve certainly increased the overall color in this image. And that’s something that we often want to do when we’re grading. Now this adjustment creates a strong, eye-popping level of color. In the Curves tab, we’ll create a toe to deepen the shadows at the bottom of the curve. Click in the bottom left quadrant of the tone line to create a control point, and then drag that point to the right and down slightly, creating a curve. First, create a toe in the bottom of the curve to deepen the shadows like you did with the lift wheel. ![]() Our goal is to visually match the overall high-contrast level from the Primaries adjustment, but this time paying a bit more attention to the tones in between the deepest shadows and brightest highlights. Enable the Reference Wipe by pressing Cmd/Ctrl+W to compare the initial version of our grade to our new approach using curves. You could do this with a number of tools, but today we’re going to do it using the Custom Curves tab. Now, let’s see if we can’t get a similar sort of feeling of contrast but without losing so much information in the bottom and top. ![]() Then, right-click on the node and select Reset Node Grade to give yourself a clean slate. Creating contoured contrastīefore moving on, create a still of your initial image adjustment into the Gallery by pressing Cmd+Opt+G/Ctrl+Alt+G for reference later on. So far, we’ve only been thinking of contrast along a single axis, and we can actually do better than this. This comes back to thinking about contrast in more of a dimensional way and considering the overall contour of an image as it moves from pure black to pure white. We’ll start with this image and go for a high contrast look. You want to get those hot highlights and deep shadows and really make the image pop. ![]() Let’s say, here on this image of a dancer, that you want to go for a high contrast look. Let’s explore what it looks like to tackle a grade with this mindset and the results that we might get out of it. The first concept to explore is the idea of contrast as a single-dimensional variable, by which I mean thinking of contrast solely in terms of being high, medium, or low. But for now, let’s get right into these concepts and the visual characteristics that we want to upgrade. If you need more information on this, check out my ACES Explained series, which is an excellent primer on the subject. Before we dive in, I want to stress the importance of working in a color-managed environment inside of DaVinci Resolve, meaning that you’re using color space transformation to accurately map what the camera captured into what my display can reproduce, rather than grading things by hand from their log state. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |