Reversed B&W adjustment layer; export color channel to layer; CS5.1; Ps extended (Win 7 64-bit)
I've had a serial number for 1 whole day, so I hope this isn't a completely ignorant question.
What I want to do is to have an adjustment layer that is a reversed, black and white image. I initially thought to merge B&W and reverse adjustment layers, but read that an adjustment layer may not be the target of a merge. Is the way to accomplish this to fiddle with the B&W adjustment layer sliders somehow?
Also, I think this is a related question, if I like how the black and white displayed image of a given color channel looks, how can I export that channel into a layer?
Thanks!
You can't merge adjustment layers, but you can clip one to the underlying layer (including another adjustment layer), so that it doesn't affect the layers below.
Click between the two layers in the Layers panel while holding the alt key (the cursor will change). The keyboard shortcut is alt+ctrl+G (although I don't remember if this is the default shortcut or if I made it up...I lose track).
As for turning a channel into a layer it's straightforward. Target the channel and copy, then target the RGB composite and paste (otherwise you'll just paste into the same channel).
Edit: for having had a serial number for a whole day, I must say you have an excellent grasp of the concepts. Those questions aren't ignorant at all; quite the opposite
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Lightroom 4.1RC2 no export color fringe correction to CS5 Camera Raw 6.7RC
The new colorfringe correction method in Lightroom 4.1 RC2 works fine even for difficult longitudinal CA when used with care. After basic adjustments I normally export my raw file to CS5 for further editing.
However found out that even after the Camera Raw update to 6.7 RC my Lightroom colorfringe adjustments were not transfered to CS5.
I sincerely hope this is not true: but do we require to buy CS6 with Camera Raw 7 to open the raw image with Lightroom corrections for colorfringes maintained?
Herb Sennet
The NetherlandsHerb 19 wrote:
However found out that even after the Camera Raw update to 6.7 RC my Lightroom colorfringe adjustments were not transfered to CS5.
Herb Sennet
The Netherlands
I just confirmed for myself that the defringe adjustments do not transfer to Photoshop when you tansfer via an "Edit in Photoshop."
Hopefully this is very temporary (until we get ACR 6.8 for CS5), since I regularly bring raws into PS via the "Edit in" route. I find this is useful to see if further improvements are possible. A good percentage of the time the answer is no, in which case I leave the image as a space-saving 16-bit raw, rather than a bulky 16-bit tiff.
As things stand now, I''l have to first render my images as Tiffs in LR, then erase those that don't benefit from PS processing. Yuck.
That defringe is a really nice tool, though!
Jerry -
Adjusting saturation of individual color channels?
In Photoshop, the Hue/Saturation adjustment allows individual adjustment to each color channel. So for instance, one can lower the saturation of only red, without affecting global saturation. I've used it thousands of times over the years, especially when shooting with Nikon cameras, which often seem to have artificially over-saturated yellows, or when shooting HDR, which tends to boost reds.
I've been scouring the internet for a plugin (or a hidden slider) to do the same within FCPX, to no avail. I'd love to be able to adjust a clip's global saturation up, while specifically lowering saturation in reds and yellows. Or at times, a clip simply has an oversaturated color that I want to diminish.
I've thought about using selective masks to grab a hue and desaturate, but that's a weird workaround to me.
This is a chance for the haters and maligners of FCPX's color correction to make themselves heard. Any thoughts?Try this and see if it helps:
http://sight-creations.com/fxexchange/ChannelSaturation.zip
(if you need intallation help: http://sight-creations.com/install4fcpx/)
This is the parameter arrangement:
The Value parameters can be used to darken/lghten the channel. I also added "overall" Brightness and Contrast controls (if you darken or lighten too much with the values.) The Pivot is part of Contrast and is a midpoint of sorts (it more or less is a fine-tuner for contrast.)
Big hint: small moves. Also, once you desaturate a channel, you'll probably want to increase it's Value (and vice versa) to help balance the other channels so that you don't develop an unwanted cast. You can toggle the original state with the effect by clicking on the blue square dot by the effect's name in the inspector.
Here's a little *extreme* before/after:
(untouched original and probably not the best example [but I have problems with oversaturated reds as well.])
(after extreme desaturation of reds, some additional brightness and a little contrast along with the value adjustments — there's a fair amount of latitude with this effect.)
HTH -
Using color sampler values with curves adjustment layer
Hi, I have just started trying to teach myself javascript. Based on preliminary research, it's become apparent that there are many functions in Photoshop that are either extremely cumbersome or impossible to code by hand without using the Script Listener.
My goal is as follows: first, I will manually load two photos as layers in a single document. Then I will manually place two or more color sampler points on the document. At this point I would like the script to create a curves adjustment layer (ideally clipped to layer 2) and place as individual channel anchor points the RGB data from the color sampler points on Layer 2, and then adjust the output of the points on each channel to the color sampler RGB values of layer 1.
As my first script, I realize this is probably going to be a lot of work.
I did find some code that returns the average value of manually placed color sampler points. Conceptually then, I would need to add code which creates a new curves adjustment layer and adds those RGB values (from a specific layer) as anchor points on the individual channels, and then hides one layer and looks at the RGB values of the color sampler points, and uses them as the output values for each anchor point.
Sounds simple enough from a conceptual standpoint.
I'm looking for some guidance on how to get started.
Which parts will I definitely need Scriptlistener for and will that be adequate to do the job?
How would you recommend I get started on this?
Thanks very much for any input.The function I had provided was an example into which you would need to feed the values you got with Mike’s code.
The code below would create a Curves Layer as shown in the screenshot, but I’m not sure it would work reasonably for all cases.
// with code by mike hale;
// 2012, use it at your own risk;
// call the function to run the script
#target photoshop
createCurveAdjustmetFromColorSamplers();
// create a function fo hold most of the code
function createCurveAdjustmetFromColorSamplers(){
// first add some condition checks
// needs an open document in a color mode that supports layers
if(app.documents.length == 0 || ( app.activeDocument.mode == DocumentMode.BITMAP || app.activeDocument.mode == DocumentMode.INDEXEDCOLOR ) ){
alert('This script requires a document in Greyscale, RGB, CMYK, or Lab mode.');
return;
// check for at least two colorSamplers
if(app.activeDocument.colorSamplers.length < 2 ){
alert('This script requires at least two colorSamplers.');
return;
// last check for at least two layers - assume they will be on same level( not in layerSet )
if(app.activeDocument.layers.length < 2 ){
alert('This script requires at least two layers.');
return;
// create varaibles to hold the colorSampler's color property for each layer
// for the bottom layer
var outputArray = new Array();
// for top layer - array could also be created this way
var inputArray = [];
// store the number of samples because it will be needed in more than one place
var numberOfSamples = app.activeDocument.colorSamplers.length;
// hide the top layer
app.activeDocument.layers[0].visible = false;
// collect the samples from the bottom layer
for(var sampleIndex = 0; sampleIndex < numberOfSamples; sampleIndex++ ){
outputArray.push(app.activeDocument.colorSamplers[sampleIndex].color);
// turn the top layer back on
app.activeDocument.layers[0].visible = true;
// collect those samples
for(var sampleIndex = 0; sampleIndex < numberOfSamples; sampleIndex++ ){
inputArray.push(app.activeDocument.colorSamplers[sampleIndex].color);
// make sure the top layer is the activeLayer
app.activeDocument.activeLayer = app.activeDocument.layers[0];
// create arrays of the color values:
var theArray = [[0, 0, 0, 0, 0, 0]];
for (var m = 0; m < inputArray.length; m++) {
theArray.push([inputArray[m].rgb.red, outputArray[m].rgb.red, inputArray[m].rgb.green, outputArray[m].rgb.green, inputArray[m].rgb.blue, outputArray[m].rgb.blue]);
theArray.push([255, 255, 255, 255, 255, 255]);
// sort;
theArray.sort(sortArrayByIndexedItem);
// makeCurveAdjustmentLayer();
rgbCurvesLayer (theArray)
////// make rgb curves layer //////
function rgbCurvesLayer (theArray) {
// =======================================================
var idMk = charIDToTypeID( "Mk " );
var desc5 = new ActionDescriptor();
var idnull = charIDToTypeID( "null" );
var ref2 = new ActionReference();
var idAdjL = charIDToTypeID( "AdjL" );
ref2.putClass( idAdjL );
desc5.putReference( idnull, ref2 );
var idUsng = charIDToTypeID( "Usng" );
var desc6 = new ActionDescriptor();
var idType = charIDToTypeID( "Type" );
var desc7 = new ActionDescriptor();
var idpresetKind = stringIDToTypeID( "presetKind" );
var idpresetKindType = stringIDToTypeID( "presetKindType" );
var idpresetKindDefault = stringIDToTypeID( "presetKindDefault" );
desc7.putEnumerated( idpresetKind, idpresetKindType, idpresetKindDefault );
var idCrvs = charIDToTypeID( "Crvs" );
desc6.putObject( idType, idCrvs, desc7 );
var idAdjL = charIDToTypeID( "AdjL" );
desc5.putObject( idUsng, idAdjL, desc6 );
executeAction( idMk, desc5, DialogModes.NO );
// =======================================================
var idsetd = charIDToTypeID( "setd" );
var desc8 = new ActionDescriptor();
var idnull = charIDToTypeID( "null" );
var ref3 = new ActionReference();
var idAdjL = charIDToTypeID( "AdjL" );
var idOrdn = charIDToTypeID( "Ordn" );
var idTrgt = charIDToTypeID( "Trgt" );
ref3.putEnumerated( idAdjL, idOrdn, idTrgt );
desc8.putReference( idnull, ref3 );
var idT = charIDToTypeID( "T " );
var desc9 = new ActionDescriptor();
var idpresetKind = stringIDToTypeID( "presetKind" );
var idpresetKindType = stringIDToTypeID( "presetKindType" );
var idpresetKindCustom = stringIDToTypeID( "presetKindCustom" );
desc9.putEnumerated( idpresetKind, idpresetKindType, idpresetKindCustom );
var idAdjs = charIDToTypeID( "Adjs" );
var list1 = new ActionList();
var desc10 = new ActionDescriptor();
var idChnl = charIDToTypeID( "Chnl" );
var ref4 = new ActionReference();
var idChnl = charIDToTypeID( "Chnl" );
var idChnl = charIDToTypeID( "Chnl" );
var idRd = charIDToTypeID( "Rd " );
ref4.putEnumerated( idChnl, idChnl, idRd );
desc10.putReference( idChnl, ref4 );
var idCrv = charIDToTypeID( "Crv " );
var list2 = new ActionList();
// add r points;
for (var m = 0; m < theArray.length; m++) {
addCurvePoint (list2, theArray[m], 0)
desc10.putList( idCrv, list2 );
var idCrvA = charIDToTypeID( "CrvA" );
list1.putObject( idCrvA, desc10 );
var desc15 = new ActionDescriptor();
var idChnl = charIDToTypeID( "Chnl" );
var ref5 = new ActionReference();
var idChnl = charIDToTypeID( "Chnl" );
var idChnl = charIDToTypeID( "Chnl" );
var idGrn = charIDToTypeID( "Grn " );
ref5.putEnumerated( idChnl, idChnl, idGrn );
desc15.putReference( idChnl, ref5 );
var idCrv = charIDToTypeID( "Crv " );
var list3 = new ActionList();
// add g points;
for (var m = 0; m < theArray.length; m++) {
addCurvePoint (list3, theArray[m], 2)
desc15.putList( idCrv, list3 );
var idCrvA = charIDToTypeID( "CrvA" );
list1.putObject( idCrvA, desc15 );
var desc20 = new ActionDescriptor();
var idChnl = charIDToTypeID( "Chnl" );
var ref6 = new ActionReference();
var idChnl = charIDToTypeID( "Chnl" );
var idChnl = charIDToTypeID( "Chnl" );
var idBl = charIDToTypeID( "Bl " );
ref6.putEnumerated( idChnl, idChnl, idBl );
desc20.putReference( idChnl, ref6 );
var idCrv = charIDToTypeID( "Crv " );
var list4 = new ActionList();
// add b points;
for (var m = 0; m < theArray.length; m++) {
addCurvePoint (list4, theArray[m], 4)
desc20.putList( idCrv, list4 );
var idCrvA = charIDToTypeID( "CrvA" );
list1.putObject( idCrvA, desc20 );
desc9.putList( idAdjs, list1 );
var idCrvs = charIDToTypeID( "Crvs" );
desc8.putObject( idT, idCrvs, desc9 );
executeAction( idsetd, desc8, DialogModes.NO );
return app.activeDocument.activeLayer;
////// add curve point //////
function addCurvePoint (theList, valueHor, theNumber) {
var desc11 = new ActionDescriptor();
var idHrzn = charIDToTypeID( "Hrzn" );
desc11.putDouble( idHrzn, valueHor[theNumber] );
var idVrtc = charIDToTypeID( "Vrtc" );
desc11.putDouble( idVrtc, valueHor[theNumber+1] );
var idPnt = charIDToTypeID( "Pnt " );
theList.putObject( idPnt, desc11 );
////// sort a double array, thanks to sam, http://www.rhinocerus.net/forum/lang-javascript/ //////
function sortArrayByIndexedItem(a,b) {
var theIndex = 0;
if (a[theIndex]<b[theIndex]) return -1;
if (a[theIndex]>b[theIndex]) return 1;
return 0; -
I added an adjustment layer. Now it only letting me export as AAF?!
What does that mean? Alpha channel? I added an adjustment layer, black and white effects to my entire video. Now its only letting me export as AAF. It's also asking me whether to "embed audio" or "save as legacy file". What in the world does that mean and what should I choose? This is just a draft to show to client.
Ann, when I go to Export, I only get "AAF" and "Final Cut Pro XML" options...I don't see "Media" so that I can choose my options. In one movie, I have an adjustment layer on top of all movie. To make the movie black and white.
But another movie is just plain. And still I get only "AAF".
The first tim I went to export this movie, regular, I exported as .mov Now it's not letting me do that. What's going on? I have to show this to my boss in few hours...
Thank you so much. -
In this Quick Tip, Julieanne demonstrates the new Color Lookup Adjustment layer and walks you through how to download a template to quickly apply these new “looks” to your images. The files she references can be found here. http://adobe.ly/Ng3afA
http://adobe.ly/LiGadTCan the Camera Calibration tech. in LR be used to keep IR raw images looking like the jogs on back of camera?
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Cannot select tones in Color Balance adjustment layer
I'm not able to select the tone menu in the color balance tool. Is this a bug?
It was the tone pulldown menu when I used color balance as an adjustment layer. But it's now working for me. I just restarted the app.
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FR: color temperature adjustment layer
I know there are 5 million methods to adjust colors in PS, but I would really prefer a simple (and almost scientific) method like the color temperature adjustment in ACR (with the green-magenta color cast adjustment).
Ideally, PS would read the current color temperature from the EXIF data (and adjust to any adjustment layers below), and give the option to pick a neutral pixel (and display the color shift based on that). in case there is no original color temp available, the grey pixel picker could be used to establish a base value, and give the user at least relative color shift values (or the user could enter the values by hand from ACR).
The reason for this is that most (pro) photographers probably know the color temp of their environments (lights, ambient, gels etc) (or can read those values from ACR), so adjusting values in regards to kelvin would make things much more precise than the ambivalent values of e.g. the color balance adjustment.What I was asking is a different method to achieve the same results what is possible with levels/curves/color balance etc without going into lab mode. (btw, the lack of a grey picker and the zoned approach of color balance isn't ideal sometimes)
thank you for reminding me that I need to brush up on my color theory. your reply has a tone of "why are you asking this, there are already tools for this" which I find a bit too conservative, when my intention is to make PS even more user friendly... if we would go with your paradigm, we wouldn't need levels, because everybody could just use curves, and yet both are very popular and often used based on the users preferences.
what I am asking is bringing the white balance settings from ACR into an adjustment layer, with all it's implications.
it would enable users to specifically balance images with mixed light sources (with the proposed color temp/WB adjustment layer with it's mask) by entering values in kelvin, and not some arbitrary numbers from 0-1 or 0-255. it would be so much easier to balance tungsten to daylight by adding 2000 kelvin to the image, or to control a straw gel that was added somewhere in the scene. I can imagine so many applications for this adjustment layer... -
Color balance adjustment layer opening as levels
When I try creating a color balance adjustment layer is it opening a levels adjustment layer. I'm using the New Adjustment Layer button at the bottom of the Layers panel. Is this a bug with CS6? How can I fix the problem?
This is the process that I go through:
Selecting the adjustment icon at the bottom of the Layers Panel, as shown below.
I select color balance, as shown below.
The properties panel is brought up, and shows the color balance adjustment controls.
In your properties panel, are your saying when you follow the above, that level adjustments come up?
Janelle -
Selecting Color Balance adjustment layer brings up Levels adjustment layer
Ok, so, all of a sudden I cannot get a color balance adjustment layer to come up. Every time I do photoshop creates a levels layer. Selecting levels makes a levels layer. All of the other adjustment layers seem to be working normally. How do I fix this? I have a deadline and no time to be reinstalling photoshop.
Reinstalling the application seldom helps, and re-installing without trashing your preferences is futile as you end up right where you started.
I understand your frustrartion, but please remember that you are not addressing Adobe here in this user to user forum.
http://forums.adobe.com/thread/419981?tstart=0
Excerpt from that link:
• Do not be abusive or aggressive in your tone
An aggressive or abusive sounding post will often evoke an aggressive or abusive and unhelpful reply
Remember, you are requesting help from other users, just like you, who are giving their time free of charge. No one is under any obligation to answer your question.
Thanks! -
Levels adjustment layer in a 16 bits/channel image
Since adobe removed the way i had been adding adjustment layers to 16 bits/channel images from pse 10, i had to try and find another easy way.
Here's the gist of it (if anyone's interested):
1. Open a camera raw image, in the camera raw dialog set the Bit Depth to 16 bits/channel and press open.
2. Duplicate the layer by selecting the move tool, hold down the Alt (option) key and move the image up just a bit (this duplicates the layer)
Select>All, use the align vertical centers and align horizontal centers in the tool options bar. Select>Deselect. (this aligns the layer)
3. Add a layer mask to the layer (the layer mask button on the bottom of the layers panel)
4. Make sure the layer mask is active by clicking on it. (this won't work if the layer mask is not active)
5. Choose the Smart Brush Tool, Nature and click on Cloud Contrast (levels adjustment layer added)
6. It's very important that you switch to another tool before doing anything else or elements is prone to crash.
7. Now hit Ctrl (cmd) +i to invert the layer mask (double click on the adjustment layer to open the adjustments panel)
8. Reset the Levels adjustment layer by clicking on the Reset to adjustment defaults button on the bottom of the adjustments panel.
Now your ready to adjust the levels on your image.
(i the screenshot i actually duplicated the background layer twice and renamed the Cloud Contrast 1 to Levels 1)
You can use this same method to get other kinds of adjustment layers, just try some of the different options in the smart brush menu.Thanks for the tip R_Kelly. I still think it’s easier to use the sliders in camera raw e.g. exposure, fill light recovery etc.
However a levels adjustment could be useful for a badly exposed image where you want to drag in the extreme white and black points of the histogram.
I wonder how many other Elements hidden secrets are available!
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PPro cs6 adjustment layer color tint
I've been working on a project that uses an adjustment layer to apply some secondary color corrections using PPro's Three Way Color Corrector effect. I used just two -- one for a particular shade of red-orange (it's a plastic mixing bowl), and one for a narrow range of blues used in some product packaging (they were fluorescing under the fluorescent lights in a class room). Both of these corrections are narrow (small range of hues and saturations, and a somewhat larger range of luninance values), and the action is simply to lower the saturation to get these specific colors down to broadcast safe levels (as seen on PPro's vectorscope). Since these colors show up quite often in the video footage, and are quite isolated from all the other colors in the scene, I applied them to the whole video using an adjustment layer. Which is one of the intended uses of adjustment layers, yes? And it works beautifully, as expected.
So far so good. I look at this on my monitor, and it looks fine. I take my laptop to a plasma HDTV and look at it there, and it's spot on.
Then I used dynamic link to send the project to Encore for DVD output. I worked on menus for a while, and didn't pay much attention to the footage since I had (more or less) edit lock. When I sat down to actually watch one of the more or less complete DVDs, I noticed that the color wasn't right. It was darker and greener than I remembered (this on that same plasma screen HDTV). So I dragged the laptop back, and sure enough, it's darker and greener now.
To shorten the story, turns out the adjustment layer was the cause. I could turn it on and off using the little eyeball thingie on the timeline, and the adjustment layer is now effecting the entire image and not just the narrow range of reds and blues that are in the secondary color corrections. So I saved the two secondary color corrections as a preset and deleted the adjustment layer. Then I created a new adjustment layer and applied that preset. Boom, problem gone. No more green tint. The same secondary colors as before are under control. What's up with that?
Now, I can't reproduce it (or I'd attach some images for y'all to look at). But I saw it go by. And I've seen a couple of references to something similar to this in searching the 'net for more information. But only a couple.
So... Anyone seen anything like that? Or am I just halucinating again? If you've seen it or heard about it, what was the cause? And did it have anything to do with Encore?
Win7 fully patched
Production Premium cs6 fully patched
Project using PPro, AE, Audition, Photoshop, and Encore, mostly by dynamic linking.
Bruce WatsonThere is a very common misstatement and misunderstanding of how adjustment layers work, which I'll repeat here: "Applying an effect to an adjustment layer applies the effect to all layers under the adjustment layer."
That's wrong in a subtle but important way.
What actually happens is that applying an effect to an adjustment layer applies the effect to the composited result from all of the layers under the adjustment layer.
This is an important distinction, because it puts the adjustment at a different place in the order of operations in the rendering pipeline.
Anyway, that's a long and perhaps overly theoretical way of saying that, yes, you may see some difference between applying an effect directly to a bunch of clips compared with applying the effect to an adjustment layer over that same bunch of clips. -
How can you match an existing color when you are using the Hue/Saturation adjustment layer?
Hi, I have a student who wants to match the color of a new layer to the exact color of an existing layer. He is using an adjustment layer to "eyeball" the color match, but is there a way to ensure that the match is perfect?
Depends, John.
If you're able to create a reasonable selection via Color Range, feathered masking, etc, then by matching one specific color, you'll also be correcting for that entire range of hue. It might have been needed anyway...or you use a color filter to correct the whole image, if it's needed.
As we all know, each image presents its own specific challenges and solutions. -
Using hue/saturation adjustment layer to match color from another image?
How can I use a hue/saturation adjustment layer on image 'A' so that it matches the color of image 'B' please?
Depends, John.
If you're able to create a reasonable selection via Color Range, feathered masking, etc, then by matching one specific color, you'll also be correcting for that entire range of hue. It might have been needed anyway...or you use a color filter to correct the whole image, if it's needed.
As we all know, each image presents its own specific challenges and solutions. -
CS4 - Color Sampler readout with Adjustment Layer selected?
I'm not sure if this is a setting, or a bug, or the way adobe intended it, but perhaps some of you may know.
In Photoshop CS4, I have a few color samplers around the stage. I notice that the color readouts require that I make some adjustments using a curves layer. I add the curves adjustment layer and start to make adjustments. The only problem is that while I have an adjustment layer selected (so I can make changes to it) my color sampler readouts in the info panel display blank.
In previous version of photoshop this was not the case as you could open the adjustment dialog without actually having that adjustment layer selected. I love the new adjustment layer panel, but its really frustrating having to make some changes to an adjustment layer and then select another layer to see what those changes did to the color samplers, and back and forth, and back and forth.
Does anyone have a fix for this? Is it a bug? Is there a reason that CS4 functions this way?I'm not sure if this is a setting, or a bug, or the way adobe intended it, but perhaps some of you may know.
In Photoshop CS4, I have a few color samplers around the stage. I notice that the color readouts require that I make some adjustments using a curves layer. I add the curves adjustment layer and start to make adjustments. The only problem is that while I have an adjustment layer selected (so I can make changes to it) my color sampler readouts in the info panel display blank.
In previous version of photoshop this was not the case as you could open the adjustment dialog without actually having that adjustment layer selected. I love the new adjustment layer panel, but its really frustrating having to make some changes to an adjustment layer and then select another layer to see what those changes did to the color samplers, and back and forth, and back and forth.
Does anyone have a fix for this? Is it a bug? Is there a reason that CS4 functions this way?
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