Image correction question about Highlights/Midtones/Shadows

I'd like to be able to adjust the Highlights/Midtones/Shadows. Is there an effect that is built into FCP that will give me this kind of control. I looked at the 3-way color corrector but it seemed to adjust color shift.

Color is not all that difficult and the possibilities are HUGE !!! May take a few attempts to get there, but you'll be amazed.
Select a clip in your timeline.
Go to File and select send to Color
Color will open
Choose where you want to store your project and name it.
Now, your selected clip should be displayed at the top left of your screen
Start playing with the first room and it's curves and wheels and feel the experience
Click on room 2 and here is where you can start creating BIG time GRADING
Check out this website
http://www.youtube.com/watch?v=1wBzKeS3NS4

Similar Messages

Apply adjustments for highlights/midtones/shadows to the entire photo?

Hi,
I'm wondering whether it is possible to apply adjustments like sharpening, contrast etc. only for highlights (or midtones or shadows) to the entire photo. Applying it with a brush is no problem, but the brush size is limited for that and it's really cumbersome to brush it onto the entire photo.
I thouhgt it might work to apply the adjustment to a small part of the photo and then invert it, but then it applies it to all shadows, midtones and highlights again.
Does anyone know an easier way to do that?
p.

I do not. Luminance range auto-masking is available only to brushes.
I had assumed this limitation was put in place because the performance when applying adjustments to all the pixels that are in a particular luminance range was too slow, but then I realized that Curves and Levels do exactly that. Perhaps it is because they are limited to the luminance channel.
You options are few, but not halting. You can create a brush mask that covers the entire Image. This is slow and frustrating (computers are un-sweating slaves; you should be able to order "Do this until it's done", where the decision whether or not to proceed is yours, not the application's). Or you can use an external graphics program such as Photoshop that allows you to create an image mask based on luminance and apply a modification to the pixels that come through the mask.
Note that for modifications that are based on groups of pixels (such as sharpening), you will have (in theory if not in practice) unintended effects at the edges of the mask.

Are highlight and shadow clipping must be avoided in any image?

Are highlight and shadow clipping must be avoided in any image?
Because in some cases, let's say, night scene, usually has many black pixels in the sky. Which perform nice contrast against the colorful signs.
Please check the attached image for reference(01.tif).
I know there's nothing in the sky, so I would like to keep all the pixels to be clipped. Is this right?
Some of my students says that other instructors told them to keep all the pixels in the histogram.
But I tell them it depands on how would you like your images to show. Am I correct?
As the attached image, it's impossible to pull the black pixels back to the histogram and I think it's acceptable in this case.
Let's see the 2nd case(02.tif), this image has highlight clipping in the clouds.
I like the way this image looks, which looks like a watercolor painting.
If I pull the white pixels back, the image will change a lot and I will get a very dark overall.
My question is, is it that important to keep your images without having highlight or shadow clipping?
This is not apply to any image, right???
THANK YOU

For a more in depth discussion of clipping, it should be noted that clipping can occur in either the raw file or the rendered white balanced file. In the latter, it can take the form of luminosity clipping or saturation clipping. Saturation clipping occurs when the chosen color space is too small to accommodate saturated colors at a high luminance. In ACR, saturation clipping is indicated by a colored line or shoulder at the right of the histogram. The remedy is to use a larger color space. Luminosity clipping in ACR is indicated by a white line or shoulder at the right of the histogram and the remedy is to adjust exposure or use highlight recovery.
Examination of the OP's histogram shows a yellow line at the right, indicative of saturation clipping of the red and green channels. The OP could try a wider space such as ProPhotoRGB.
Here is an image of a a flower rendered into sRGB using the ACR defaults and the Adobe Standard camera profile. It appears overexposed and the yellows (actually reds and greens) are clipped as indicated by the yellow line at the right of the histogram.
The raw histogram (produced by Rawnalize) shows that the image is well exposed. The red and green channels are just short of clipping. The image appears overexposed with ACR, since ACR uses a baseline exposure offset for the Nikon D3.
However, when white balance is applied for this daylight exposure, the red channel is multiplied by approximately 2.21, and this should result in clipping of the red channel. This did not work exactly as expected with ACR, so I used Iris (a freeware astronomical program which allows extensive control of the conversion process) and examined the histogram of the resulting image in Photoshop. Note that the green channel is just short of clipping, as expected and that the red channel is clipped.
To avoid clipping with the white balance in ACR, it is necessary to use negative exposure to offset the red white balance multiplier. I chose to use a bit of highlight recovery as well to tone down the highlights while maintaining a pleasing value for the midtones. Here is the resulting preview with rendering into ProPhotoRGB.
In this case, I was able to avoid clipping. However, when the image is printed or viewed on a display with a limited gamut, some clipping would undoubtedly occur.

Question about the New ACR Corrections for Tonal Range

I find the new set of controls for tonal range in CS7 to be excellent! However, I am curious about what controls what. Black and Shadows work as I would expect but Highlight and Whites do not, at least in terms of traditional photography.
Highlights and Shadows are grouped together as I would expect, Black and White also. But if we are to continue with that progression, White should control the clipping point and Highlights the values a 2 stops or so above middle gray. I would expect Highlights to be similar to Brightness in CS5 except better behaved. It's reversed. Highlights =Recovery in CS5
It's confusing so I am suggesting that White control clipping and Highlight the upper values.

Thank you Patti for your response.
I think we are coming to this from different perspectives. Being so close to development of the current upgrade, I appreciate your insights as to how these controls work. I, on the other hand, am coming from long experience as a photographer and printer, exceeding 50 years at this point. So I have some legacy points of view, which is why I posted.
I spent this evening looking more closely. Here is a summary.
I messed with an excellent example for looking at this question, and I found something interesting. You can fix an image which already has clipping far easier with Highlights, but you cannot force an image with white values well below clipping into clipping using Highlights. The reverse is true with White. So, to fix a white clip, use Highlights, to force a white clip, use White.
Blacks and Shadows are different. You can both force and fix a Black clip with Black, but Shadows, while possible, has much less range. So Shadows are kind of vernier on Blacks. This is different than Whites.
I was basing my OP on only fixing clipping points, that is, bringing an image out of clipping, but not forcing into clipping.
So, indeed, what you and Jeff point out is closer to correct than my initial assertions. Yours are based on a broader range controls than possible in analog days. In naming these controls, one winds up with a foot in both the digital side and the old analog side, which gave rise to the names and the meanings.
So thanks to both you and Jeff for taking this up. It forced me into looking more closely at my conclusions, and while they weren't wrong outright, they were inadequate to the present state of the technology. Sometimes, experience can actually get in the way!
Lawrence

Hi I have a question about shooting in Raw with my Canon EOS 6d. I'm in the process of learning photography and my goal was to start shooting in raw. I have Photoshop CS5. When I tried to edit my images in raw I received an error message stating, "The pho

Hi I have a question about shooting in Raw with my Canon EOS 6d.
I'm in the process of learning photography and my goal was to start shooting in raw.
I have Photoshop CS5. When I tried to edit my images in raw I received an error message stating, "The photoshop camera raw plug-in did not recognize the format. If these files are from a camera, you may need to update your camera raw plug in."
In researching the issue I read that to edit in raw you need a camera model requirement of at least 7.3 which only works with CS6. My version of CS5 is 6.0.0.205. Being new to all this I see that my options are to upgrade to CS6 or convert by using DNG converter and paying a monthly fee. Two things I know nothing about and don't know which is would be more beneficial.
I'd appreciate any advise on which route to go and how upgrade and what it may cost. THANKS in advance!
Heather

In researching the issue I read that to edit in raw you need a camera model requirement of at least 7.3 which only works with CS6.
That is correct. Your camera was first supported by Camera Raw 7.3. Camera Raw 7.3 will not work with CS5. You need CS6 or CC.
Being new to all this I see that my options are to upgrade to CS6 or convert by using DNG converter and paying a monthly fee. Two things I know nothing about and don't know which is would be more beneficial.
I'd appreciate any advise on which route to go and how upgrade and what it may cost.
It all depends on your preferred workflow and your budget.
Using the DNG converter is free. There is no monthly fee. You use the converter to convert all Raw files from the EOS 6D to DNGs then edit the DNGs in CS5. That's an extra step every time - every photo. Some people don't like the extra step. Others don't mind.
Camera raw, DNG | Adobe Photoshop CC
Or you can upgrade to CS6 (non-Cloud) and pay the upgrade fee
Creative Suite 6
Or join the Cloud and pay the monthly fee
Or join the Photoshop Photography Program (US9.99/month) and get PS CC+LR

2 question about GPU and Lens correction ,cs5

Hi
i have 2 questions about Gpu and lens correction in Cs5
1)Filter->lens correction->search online
i get often and almost every connection time out at the first click on search online , at the second click i get no online profile
is it normal?
2) question is about Gpu
it run faster , but talking about ajustament layer
like saturation or vibrance for example
i found with the gpu on , a light slow refresh compared with gpu off
i have set cache levels 6 ,history 20
i guess are the defaul
well i add a saturation layer and move the saturation slide ,increase o decrease saturation
with Gpu Off , the changes are immedially , i mean i can see in real time the increase o decrease of saturation
with Gpu On it takes a few(very few) time more
again is normal ?
don't be angry , i'm going to buy cs5 and i'm unsecure ... the price make a big role
thanks

For what it's worth, I also see a timeout on the first [ Search Online ] click, after about half a minute delay. Second click turns up results immediately. This happens each time Lens Correction is started, even without restarting Photoshop, and in both 32 and 64 bit versions. Also note that I started with one profile listed by default (though from the wrong camera) for my 40D with 28-135 zoom.
I alsow noticed that I was seeing progress bar activity in the Lens Correction dialog while I was typing this (even though Lens Correction was NOT the active window) every time I hit the 'L' key. Strange.
Windows 7 x64.
-Noel

Some question about image component

Hi,
I encounter two questions when using image component and can't solve it myself after reading online document.
1. How can I get image source at runtime? I find image.source return an Object class, but not the source image path.
2. How to ensure image loading image correctly? In my itemRenderer, I set image source with this
source="{appURL}+{data.picname}"
I am sure there's no problem with the path, but it shows a broken image. What's the right way?
Thanks,

Try adding the images to the container dynamically
var img : Image = new Image();
img.load("{appURL}+{data.picname}")
img.addEventListener(Event.COMPLETE,imageLoaded);
private function imageLoaded(event:Event):void
var img : Image = event.currentTarget as Image;
// now add the img to the container
cheers
Varun Rathore
http://www.vrathore.blogspot.com

Image enduser workstation: question about ACF and Adobe Reader component

Our IT department is investigating what components should be included in the image for enduser workstations to ensure they will be able to work with interactive forms without any problem. I know ACF and Adobe Reader are the only requirements for endusers but I have some questions about this:
1. As of what version of Netweaver 2004s is it no longer a requirement to have the ACF component installed on the frontend to enable online interactive scenario's for endusers?
2. Can I recommend to allways install the very latest Adobe Reader version available in the market or is the Adobe Reader version depending on the SAP NetWeaver version we use?
kind regards
Angelique Heutinck
([email protected])

Hi Angelique,
The non ACF version is called Zero Client Installation (ZCI)
ERP2005 SP 5 - Zero Client Installation (ZCI)
NW04S Stack 08
Reader 8.0 for ZCI, Reader 7.08 for ACF based forms. Don't use Reader 8 for ACF yet, since there is no installer working yet...
Cheers,
Noë

Questions about 1003051 - TDMS 3.0 corrections - Composite SAP Note

Experts:
We, from a big SAP shop, want to set up TDMS for ERP, BI, HCM and CRM.
We have some questions about note 1003051:
1) Is this note about ERP (and HCM) only? If so, what are the notes for TDMS on BI and CRM?
2) Should we apply this note to all systems involved: sender, controller (SM7.0 in our case) and receiver?
3) We have enhp1...enhp4 in our ERP (and HCM), enhp1 on BI and perhaps enhp1 on CRM (not sure yet).
a) What is the impact of enhp on TDMS?
b) should we install TDMS before applying enhp OR the sequence does not matter?
Thanks for your help!

1) Is this note about ERP (and HCM) only? If so, what are the notes for TDMS on BI and CRM?
>This is a composite note, and contains information about various other notes related to TDMS. Refer to each note mentioned in this note individually to assess the same.
2) Should we apply this note to all systems involved: sender, controller (SM7.0 in our case) and receiver?
>Depends from note to note, Each note contains the necessary information about the system it has to be installed on.
3) We have enhp1...enhp4 in our ERP (and HCM), enhp1 on BI and perhaps enhp1 on CRM (not sure yet).
a) What is the impact of enhp on TDMS?
>TDMS in standard supports Basis 7.0 systems. However it generally works fine with 7.01 too.
b) should we install TDMS before applying enhp OR the sequence does not matter?
>As TDMS 3.0 is only available for systems with basis 4.6C to 7.0. So install TDMS first and then the EHP.
I hope these answers help.
Regards
Pankaj.

Question about image slideshow (like mac file preview)

Hello!Ι have a question about Adobe Edge.is it possible to create a photo slide show like mac's file preview? i mean smthg like this https://www.youtube.com/watch?v=Q727LqDIZKM

Hi, TasisGrafix2-
Edge Animate doesn't support css3d natively, but you can use a third party library such as edgehero.js to make this work.
http://www.edgehero.com/edgeherojs.html
Good luck!
-Elaine

Question about drop shadow...

Hi,
I need the drop shadow to still be visible around a cut out box shape.
Can anyone tell me how to achieve this effect? (Please see attached picture).
It may involve a compound clipping path but I'm not sure...
I would need detailed step by step instructions (especially because I don't even know what a compound clipping path is, or if i need one for this effect).
Thanks, in advance!

I assume you are trying to create a placeholder image with a pre-assigned drop shadow. I would create a shape and apply your drop shadow effects>stylize>drop shadow.
With the shape still selected, press shift+D twice or look at the bottom of your tools panel and change to the draw inside mode. Place your image in that.
If that is not the effect you are looking for then you can create a faux drop shadow by doing the following:
1. Create a box and fill it with your shadow color.
2. With the box selected go to effects>blur>gaussian blur to create the drop shadow effect your want.
3. Duplicate that same shape and place it above the first one, but slightly adjusted to recreate the drop shadow offset.
5. Remove the blur effect in your appearance panel of the top object.
4. Select both objects and in your pathfinder panel select the "minus front" button.
You should have a blurred backwards L shape.

Question about "Native ISO" and Color Grading in PP

I have a question about "Native ISO" in the real world and how it relates to color grading. I was shooting 35mm film before all these digital cameras became flat-out amazing practically overnight. Then the goal was always to shoot with the lowest ISO possible to achieve the least amount of grain (unless you were making an artistic decision to get that look). If I was shooting outside plus had a nice lighting package I'd shoot 5201/50 ASA (Daylight) and 5212/100 ASA (Tungsten) 99 times out of 100.
I've recently been shooting a lot with the Blackmagic 4K and have read that its "Native ISO" is 400. Because of my film background this seems counter-intuitive. Yesterday I was shooting for a client and had the camera at an f16 with a 200 ISO. Because of what I'd read, I was tempted stop down to an f22 and change my ISO to 400... but the "little film voice in my head" just wouldn't let me do it. It kept telling me "Higher ISO means more noise... stay at 200 and you will get a cleaner image".
So how does it work with "Native ISO"? Should I really shoot at a 400 ISO every chance I get in order to capture the best image for how the camera is calibrated? Will it really give me more latitude when color grading? Or would I still get a cleaner image staying at ISO 200? I've Googled around quite, but haven't found any articles that answer specifically this question. Would love to hear from someone who knows a bit more on the subject or has a link that could point me in the right direction.
Thanks much.

Hey, shooter ... yea, interesting discussion and always nice to learn. Great pic, too!
jamesp2 ...
Great answer. I've followed quite a bit of the discussion about the BM cams as well, one does feel a need to check out the possibilities for that next beastie one will need to acquire. But ... which one?
I've always been a bit of a hard-case about testing testing testing. For instance, what happens with dome down or use of a flat diffuser vs. dome in the up position in metering? Back in the film days, we had our own lab and did our own printing as well as the um ... difficult images ... from other studios. I needed to know how to get exactly the same diffuse highlight no matter whether it was a "standard" light 3:1 studio shot, or a near-profile with no fill that needs dark shadows. I tested & burned through boxes of medium-format polaroid & 120 film and a lot of color paper. Finding? To get the same print time no matter the contrast or lighting style, needed to be metered either with the flat disc (Minolta) or dome-down (Sekonic) and held at the highlight-location pointed at the main light source. I could meter and nail the exposure every time. Ahh no, insist so many ... one must have the dome on/up and pointed at the camera! Right. Do that, change the contrast, and see what happens to your diffuse forehead highlight on a densitometer ... and see how your printing exposure times change. Oh, and you've just moved your center-of-exposure up or down on the film's H&D curve, which will also change the way the shadows & highlights print. In truth, though it was subtle, we had realistically no matter latitude for a best-case image with pro neg film as one had with chromes. You could probably get away with being "off" easier, but it still wasn't dead-on.
So wading into video ... oi vey, you may have noticed the things claimed here there & everywhere ... this setting is God's Gift to Humanity but no, it's total crap ... this sensor is totally flawed but someone else is certain it's the finest piece out there. Yes, opinions will be all over ... but ... in film, it was the densitometer. In video, it's the scopes. Truth. And getting to that can be a right pain. I've seen quite a few contradictory comments about using the BM cams in film mode and also at ISO 200. Yours above gives the most ... comforting? ... explanation (for me) because of your reference to your scopes & the waveform patterns. Thank you.
Love to learn ...
Neil

I have upgraded Apple Aperture from version 2 to version 3 and I'm having a problem with the "Highlights and Shadows" adjustment. According to the user's manual, I should have access to an advanced disclosure triangle which would allow me to adjust mid co

I have upgraded Apple Aperture from version 2 to version 3 and I'm having a problem with the "Highlights and Shadows" adjustment. According to the user's manual, I should have access to an advanced disclosure triangle which would allow me to adjust mid contrast, colour, radius, high tonal width and low tonal width.
If anyone has any suggestions as to how to access this advanced section, I'd be most grateful.

Hi David-
The advanced adjustments in the Highlights & Shadows tool were combined into the "Mid Contrast" slider in Aperture 3.3 and later. If you have any images in your library that were processed in a version of Aperture before 3.3, there will be an Upgrade button in the Highlights & Shadows tool in the upper right, and the controls you asked about under the Advanced section. Clicking the Upgrade button will re-render the photo using the new version of Highlights & Shadows, and the Advanced section will be replaced with the new Mid Contrast slider. With the new version from 3.3 you probably don't need the Advanced slider, but if you want to use the older version you can download it from this page:
http://www.apertureexpert.com/tips/2012/6/12/reclaim-the-legacy-highlights-shado ws-adjustment-in-aperture.html

A Question about RAW and Previews

I have just recently starting shooting in RAW (mostly for the post production editing abilities - I am an avid amateur photographer bent on learning as much as I can). I set my camera to capture in RAW + L. I don't know why I feel like I want it to capture both the RAW and JPEG file, and thus leads me to my first question: Is it necessary to have the camera capture both the RAW and Large JPEG? I am assuming the answer to be no, as I am sure if after importing the RAW file into Aperture, you could always export a JPEG if you wanted one? So no need to fill up your internal memory (if using managed masters) with the extra JPEG? Is this thinking correct?
Next, if you do import RAW-only files and then want to export certain images, do you have a choice to export the original RAW image? It seems that it only allows you to export a JPEG Original Size. To answer my own question, perhaps you have to export the Master in order to export the full RAW file when exporting? If you want to export a JPEG, you have to export not the Master, but a version of the Master? Is this correct?
Lastly, I wanted to ask a question about Previews. I have my preferences set so that previews have the highest quality with no limits to size. What is the significance of setting it this way? I just assumed that if I wanted to share an image at the highest quality without exporting it, this was the way to go. Is there any validity to this? The reason I ask is that I don't want to have all of these high quality previews taking up internal disk space if I really don't need to. Is there a way to change the preview size once previews are created? Meaning, if you have it set to generate low quality previews, can you change it dynamically to high and vice versa?
I know this is a lot in one post. Thanks for tackling it.
Mac

You can change the quality of the Previews in the Preferences -> Previews tab.
You can regenerate Previews with the Delete and Update Previews under the Images menu.
Regards
TD

Preview highlight and shadow clipping mask in second monitor

Hi, I'm new in the forum and just starting with the new LR3. I have a question about to preview highlight and shadow clipping in the second monitor, becouse I can't check the mask clipping in my second monitor as in the LR2... Is there a possibility to change it to preview the mask in the second monitor?
Thanks and regards
Daniel

Yeah, thanks.... but I mean that when you are in develop mode and you try to see the highlight or black clipping mask, red or blue, now in LR3 only appears in the main monitor, not in the second monitor as well like in LR2... Maybe I'm not explaining very well the difference...

Image correction question about Highlights/Midtones/Shadows

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