Shadows/highlights is really welcome.

Surely, new LR yet looks great. Including shadows/highlights function which is in Photoshop would do some great job and I can explain why.
First of all it is important to see great difference when we apply this operation before special effects or after.
For example, I save a lot of time using new super features of LR3 like Sharpening and Grain adding. Pictures look just great. And what they need often is applying SHH. But if I do this in Photoshop after conversion it will also bring a lot of dirt and noise. I suppose that applying SHH together with sharpening and grain adding in LR could be done with much higher quality than after in PS.
Yes, nobody dies without it, but for now Grain feature looks really useful considering SHH.
I hope my thoughts are clear (sorry for my English)

Surely did, but it is totally different thing.
Recovery and FillLight are good the way they are.
In SHH it is possible to control radius and tonal width even separately of each other plus midtone contrast.
SHH itself maybe is the most important invention for digital photography during last years. It can bring back details hidden in dark and light areas without loosing contrast in those areas where you need it. For this you set radius. Recovery smooths the contrast which also is really important. It does not allow bright areas easily blow out while you can increase brightness. Together those functions are just the killers.
Recovery/Filllight cannot replace SHH.
I can still use it in Photoshop, but I will have to skip using new Grain feature, because SHH together with details also will bring back a lot of noise.

Similar Messages

Shadow/Highlight workflow - A Quick Tutorial by Mathias Vejerslev

Here's a tip on using the Shadow / Highlight feature of Photoshop. I'll describe my typical established workflow using this tool, in order to help others using it.
Shadow / Highlight is in a special category of tools, based on light zones in your image. You can use it to increase or decrease contrast, or indeed both in one go.
First of all, I wouldnt recommend using Shadow / Highlight on an 8-bit image. You can do it, and it will give you results in a pinch, but the image quality will be much better if you start out with a 16-bit image in a large color space.
[continued, below...]

[...the dialogue continues...]
Mathias Vejerslev
- 2:34pm Apr 19, 06 PST
I should note that my settings for S / H are a bit more extreme than usual for this particular image. That's because its so dull to start with. With highlights closer to the right of the histogram, much less Amount for highlights suffice.
glen deman
- 6:49pm Apr 19, 06 PST
Thanks Mathias, I'll also give this a whirl, I'm not familiar with S/H at all at this point.
Lawrence Hudetz
- 12:37pm Apr 20, 06 PST
You must be reading my mind, Mathias, as I was just wondering if you might come up with some information on your take with S/H.
My problem is the reverse: Too much contrast, and I work with scanned images, so I am not using raw. So, I have set up default S/H thusly:
As you can see, it's for a greyscale, but for RGB I would be using the same settings, leaving contrast and color set to Adobe defaults. This is my starting point, and for many of my images, all that is necessary. Once in a while, I throttle back with the Fade, but very seldom. If it isn't working, I tweak the controls, usually starting with the radius.
I haven't tried your selection mask yet. looks like a splendid suggestion, (as usual!).
On certain images with backlit clouds, I frequently set the highlight radius well above 100.
The most disturbing effects I have noted is the contrast enhancement around abrupt changes in picture elements, like a mountain against a cloud. The edge of the mountain goes dark and the corresponding edge of the cloud goes light. In analog work, this is known as the Eberhard effect, and is the principle problem with Tech Pan. Trying S/H on those negs is trying indeed!
Mathias Vejerslev
- 2:59pm Apr 20, 06 PST
Hi Larry,
Try the luminosity mask. I think it will help the halos you see around contrasty subjects.
For scanning, you can still use the two develops method; Scan two versions into 16 bit with different exposure and merge them in Photoshop. Layer one version over the other, and use the luminosity mask from one layer as the layer mask on the other. The combination will be a bit flat, and will need some contrast. This is one situation where you can use S / H to add contrast.
There's nothing wrong with using S / H to decrease contrast, I think this is its primary intended use. But you have to live with the halos induced by a radius based contrast modifier. You dont have to live with halos using the combine method.
Using S / H with a luminosity mask is my own humble 'invention', but I see that it works well regarding controlling the halo effect. - to a limit. It also helps against accidentally lifing the shadows to much, exposing your use of S / H. Other masks could be used, I'd be very interested in other options or ideas people here might have.
Lawrence Hudetz
- 11:09pm Apr 20, 06 PST
Hi again Mathias,
You have a real insight here. I gave it a try and the Luminosity mask is a jewel. But using it as you describe is only the beginning.
First off, I decided to look at which to use, straight or inverted. That extends the application several fold, as now we have two ways to apply tools. And by tools, I mean far more than S/H.
The next place I tried it was the procedure you call contrast coating (I call it brightup.) here is another place to get into trouble, and the Luminosity mask again proved it's worth. But wait! There's more! Sharpening! Use the mask when sharpening an image and with the right polarity selected, one can really sharpen a fuzzy image. I was able to apply sharpening on the order of an Amount of 300 and a Radius of 3. That decisively sharpened an image which could not be well sharpened without a huge halo problem.
What is actually affected? To decide this, I used Curves to watch what areas were responding. Inverting showed a completely different outcome for the same adjustment.
Most fun I've had since....:)?
Mathias Vejerslev
- 6:44am Apr 21, 06 PST
"What is actually affected?"
You can create an alpha channel from the mask by hitting the Create Channel from selection icon in the channel palette. You can then not only see what areas are affected, but you can manipulate your alpha channel with curves to get just the selection you want. I like the straight highlight / midtone L mask, though.
[continued, below...]

Spotlight or Spot Shadow/Highlight

Is it possible to create a spotlight or spot shadow/highlight effect in FCE with the native effects or filters? I am trying to create something that would look like a "spotlight" was used during filming with the camera (small circle highlighting someone's face).
I was thinking either creating a slight dark overlay over the whole screen with a "cutout" of normal contrast/brightness/color and changing the level opacity. Or a small circle with a lighter color/contrast brightness.
Is this possible within FCE natively or do I need an external filter?

I just figured out a way to do this last night (after much experimentation). In fact I was going to post a message here asking if this is the best way, or is there an easier method?
I'm producing a demo DVD for an entertainer friend, and in some of the clips she wants to use, it would be hard to figure out which of several performers on stage is her at the beginning of the clip. So I figured I'd use a spot shadow like I've seen on TV (where all of the frame is dimmed except for an oval around the primary subject). It is necessary that the spot shadow be able to follow the subject for a bit as she moves, and then fade away after a few seconds to leave the original scene.
Here are the steps I performed to achieve the result. Except as noted, all actions were taken in the timeline.
1. I removed the transitions I had already placed at the beginning and end of the clip (they get replaced later).
2. I turned off the linking between the audio and video tracks and then selected just the video portion of the clip.
3. After verifying that the playhead was at the beginning of the clip, I dragged that video clip to the Canvas window and dropped it on the Overlay panel. The result was a duplicate of the video clip (from v1) in track v2, in perfect alignment. Make sure v2 is enabled.
4. I went to the Browser, selected the Effects tab, opened the Video Filters->Matte folder, and dragged the filter Matte Shape onto the v1 copy of the clip.
5. Double clicked the v1 copy of the clip to display it in the Viewer. With the Viewer Video tab selected, I see a mostly black frame with, with some of the frame's video showing through the selected matte shape.
6. Clicked on the Viewer's Filters tab and opened the Mask Shape section to display its controls.
7. With the playhead at the beginning of the clip, the Canvas shows the original video with no shapes showing. That's because the Opacity of the v2 video is still at 100%.
8. Reduced the v2 clip's video opacity to about 50%. I did this by just dragging the opacity line down in the Timeline. Now the Canvas shows a spot shadow with the current shape parameters.
9. Selected the Oval shape with the popup in the Matte Shape parameters (choices are diamond, oval, rectangle, and round rectangle).
10. Used the Horizontal Scale and Vertical Scale parameters to adjust the shape and size of the oval.
11. With the playhead still at the beginning of the clip, I positioned the spot shadow oval over the subject. To position the shape, click on the “+” button of the Center filter parameter; a small red crosshair appears in the middle of the shape; when I move the mouse pointer over the Canvas, it also changes to a crosshair; with the crosshair mouse pointer, I can drag the spot shadow shape until it is over the subject (note that if the mouse button is released, you have to go click that “+” button again to get the crosshair back).
12. I clicked the diamond button (Ins/Del Keyframe) for the Center parameter to designate the first frame as a Center position keyframe.
13. I scrubbed through the clip, watching the Canvas, and repositioned the spot shadow (see step 11) as necessary to keep up with the subject. Apparently, once you've set the first keyframe, each time you adjust that parameter again FCE automatically generates a new keyframe.
12. I determined where in the clip I wanted the spot shadow effect to fade away. I used the pen tool to add two keyframes to the Opacity of the v2 clip by clicking on two points on its Opacity line. I then dragged the second point up to 100%, which produced a transition from 50% to 100% between those frames in the clip. With the v2 video's opacity at 100%, the spot shadow effect is gone, and you're left with just the original video showing.
13. After verifying that the effect worked as needed, I restored the Cube Spin transitions I was using at the beginning and end of the clip. It was really cool that the spot shadow effect followed the Cube Spin just like I hoped it would.
I hope I didn't miss any critical steps (I'm writing this from memory). But it produced a very nice spot shadow effect that could be animated to stay with the subject. It's actually a lot easier to do than to describe, but I'm still wondering if this was the best way to do it.
Good luck!
-Gordon

Shadow/Highlight Flickers when layered

Last post I saw was ArtsForHearts 12/8/09 having the same problem. It seems as though the use of the Fx Shadow/Highlight on two layers above each other with different settings make one of them flicker. If all the values are the same you are good to go. I like to use it to give a better look to talking heads where the lighting was not the best. I track matte an area over a face with a little Shadow/Highlight. Or multiple layers are used to airbrush zits and enhance the lighting look. It has to be a software problem. Anybody use Shadow/Highlight this way and get flicker and wierd shaded boxes?

You are entitled to your opinion, regarding the forums. I happen to disagree completely, but then that is MY opinion, and is not really germane here.
encouraging that maintenance by users, merging threads, marking solutions
Let's take a look at these:
Non-MOD's cannot maintain the forums. The only exception is that several Adobe employees have MOD consoles, and CAN maintain the forums, but they are not officially MOD's.
They do merge and also branch threads, and quite often.
Only the OP can mark a thread as "Answered," or award points. Even MOD's, and Adobe employees cannot do that.
This forum has NONE of those virtues, and Adobe looks lame as a result despite their disclaimers. So criticism is absolutely appropriate, notwithstanding the potentially good intentions of people who may or may not be volunteering their time with zero compensation of any kind.
Fair enough, though still your personal opinion. However, these product forums are not the appropriate place to point up the issues with the forums. There is a special location for that, the Forum Comments forum, which is fairly active, and is frequented by Adobe-Admin (John C.), who basically runs the forums. John C. is not a MOD, but I feel that he has a MOD console. Jochem van Dieten is the MOD. Any complaints that you have with the forums is best posted there, as they will be seen by people, who run the forums.
Note: sometime in Sept., if things hold, there will be new forum software, though I am not sure if the changes will impress you. Only time will tell.
I'm not sure what the caption "Community Professional" means, though, for Mr. Bellune. Professionals get paid as far as I understand the term.
The Community Professional is a badge awarded to fhose, who have taken and passed either one of the ACA tests, or the ACE test, or the ACI exam. Jeff is a video professional, as producer, videographer, and editor, plus an author of still the best book on Adobe Encore. He is not paid by Adobe. He might get an Adobe baseball cap, or sweatshirt, from time to time, but he gets nothing for his volunteer work on all of the PrPro sub-forums, plus the Encore forum. Besides his real-life business, his tutorials, and his MOD duties, he is also a highly valued contributor to all of those forums.
Lastly, I have no idea why you and Jeff keeping linking over to the help file for the Shadow/Highlight effect. There is absolutely no bit of information there that could lead to any resolution of this issue. It's an example of why people can get so inflamed here; the regulars purport to offer answers (a) without thinking about whether it will actually address the problem; (b) defending Adobe as a starting point; and (c) taking the easiest path of citing already-established generalities.
While I cannot speak for Jeff, my intention was to make sure that you had all of the necessary details on the Effect, so that when you file the Feature Request/Bug Report, you are not reporting OE, regarding a setting. As that does not appear to be the case, then I would file that Bug Report, with all pertinant details. As I said, that will very likely land on Todd's desk, and he will then be able to comment directly on what is being done to fix the Bug.
This is a bug, plain and simple. It dates back years. I have submitted repeated bug reports. Many, many other users have too. This is a simple case of Adobe letting the issue slide. Like a billion others. One tiny example: ever wondered what those Auto Black Levels and Auto White Levels buttons do in the Fast Color Corrector? Absolutely nothing. That's been the case for several years now. Great job, Adobe.
Per your suggestion, I did Google this Bug, and other than the posts, to which you replied, plus one other, did not find the many, many others.
"Billions," are your normally prone to hyperbole, or is this a one-off instance?
If all of the people, who you claim have filed Bug Reports, if there is a fix, I find it so very odd, that Adobe has been dropping the ball, and since forever. I have seen Todd, Dennis, Kevin, Jeremy, Wil and others, jump onto Bugs, and usually within an update, or perhaps two, things get ironed out. I'd file that Bug Report for however many times it is now for you, and then watch those PrPro threads, to get Todd's comments on getting things fixed. Be sure to give all possible details, so that Adobe can duplicate the Bug, and then begin working on it. Unlike some frustrated speculation, I know that Adobe takes Bug reports very seriously.
Good luck, and let's hope that Adobe finally comes through for you.
Hunt

How do I correct shadows/highlights ?

How do I correct shadows/highlights on Final Cut Pro? Is it possible to somehow do this? I've tried installing a plugin for FCP called "highlights and shadows" ,it opens in final pro and says "bad file type".

That's because it's most likely over exposed and with video's limited dynamic range, you're probably hosed.
In the meantime, if you really want to learn something, investigate proper exposure with your camera and also [Color Correction in FCP|http://www.amazon.com/Apple-Pro-Training-Encyclopedia-Correction/dp/0321432 312/ref=sr15?ie=UTF8&s=books&qid=1296143566&sr=8-5]

"Jumps" in Shadows/Highlight-Corrections

Hallo,
does anyone know, why the following problems occur in the Shadows/Highlights-Correction:
Sometimes - when starting from zero - and pulling the Highlights-slider to the right, there's a kind of "jump" to a brighter image at 1 %, before the shadows starts to lighten up from this brighter level at 2 % or more.
Also with some images, I cannot lower down the Highlights, no matter how much I pull the slider to the right. In other cases - analog to the Highlights-problem mentioned above - there's "jump" to a much darker level at 1 %, from which then a linear change is possible.
This happens only with some images, but I cannot detect any system behind this phenomenon. I would like to know, what's wrong with some images, to make a linear change right from 1 % possible with all images in the future .
Any help is highly welcome
Thanks!

Hallo,
thanks for the reply. I'm not very used to it, but I'll try it for the first with the following example, which shows a large "jump". If I try to correct this image in "Shadows/Higlights" and pull the Shadows-slider from zero to the right, the image jumpes to a much brighter exposure right at the start and then starts to open the shadows from this brighter expopsure and not from the version you can see below (which is displayed at zero).
Please excuse - as you see - this is my first post and I hope you can use this example anyhow.
Thanks very much!

Following the recent upgrade to Photoshop Elements 13 the shadows/highlights sliders no longer operate. How do I resolve this issue?

Having installed the recent upgrade to Photoshop Elements 13 the shadows/highlights sliders no longer work. How do I resolve this problem?

Sometimes when problems pop up for no apparent reason it could be that the preferences files had become corrupted. Here are two ways to reset the preferences.
1. The reset process might be built into your PSE version, as shown in this video:
How to Reset Photoshop Elements Preferences - YouTube
2. If your version does not have the reset option, press and hold Alt-Ctrl-Shift (Option-Command-Shift on Mac) immediately while starting PSE. The timing is critical; you may have to try this several times. A dialog box will pop asking if you want to delete the settings file? Click YES.
Let us know if either of these works for you.

Dip to White Transition and Shadow / Highlight creates flickering. Workaround?

Here's what my layers look like:
Top
- Adjustment Layer including MANUAL Shadow / Highlight with some static values -
- video clip 1 - dip to white - video clip 2 - dip to white - video clip 3 - etc... -
Bottom
When it renders, there is a discoloration and a flicker on every single transition. This does NOT happen with the dip to black transition.
I believe what's happening is that the Shadow/Highlight is doing its thing on the transition itself. S/H continually tries to bring out detail in the highlights as the frame is being whited out. What there SHOULD be is an option for Shadow/Highlight to only be applied to video clips but ignore any transitions that are applied to the clips.
I do NOT want to drag Shadow/Highlight into each clip separately because the settings for it are way easier to manage in one adjustment layer than in 50+ individual clip settings.
Does anyone have a good, efficient workaround for this?.

the Shadow/Highlight is doing its thing on the transition itself.
Adjustment layers work on everything below, so yes, that's precisely what's happening.
there SHOULD be is an option for Shadow/Highlight to only be applied to video clips but ignore any transitions that are applied to the clips.
There is. Apply the effect to the clip, rather than to an Adjustment Layer. It's the only way, regardless of effect, because like I said, adjustment layers work on everything below. (That's kind of their purpose.)

Massive bug by combining Shadow/Highlight and a cross fade

Hi. I found what appears to be a bug by using a cross fade between two clips with the shadow highlight effect. I cross faded two clips (240fps AVCHD from FS700) each with RGB Curves and Shadow/Highlight and sometimes I get this nasty side effect. The side effect is a random white flashing, or rather an erratic application of the shadow/highlight effect. Maybe it's because it is trying to process the effect on footage which is slowly losing opacity due to the cross fade, and as this happens, the colour data changes as a result. This effect may not happen outright when you try it, I think it applies to specific clips, or clips where the shadow number is higher than the highlights or vice versa. It is now happening again in my new edit and this worries me because I like the effect that it gives, but not the buggy side effect.
Here is the video where I first experienced it. It only appears to happen at 2:18, but now in my next video, it's happening in my opening shot.
Rendering with gtx570 & pprocs6.

The problem occurs when two clips that both have Shadow/Highlight adjusment with different values are crossfaded. You get this light dark bands of flickering in the crossfade. It looks horrible.
SOMETIMES, disabling GPU acceleration works. Not always.
Setting the clipping amounts to 0, as opposed to the default of .01 will help with the clip flickering, but NOT the crossfade flikering. It will not help
Using Opacity keyframes as opposed to the Crossfade Video Transition Effect will not help.
The only sure way to solve the problem is to make INTER clips. Render the two clips seperately with all shadow/highlight effects, then replace the clips on your timeline with the rendered clips and THEN crossfade them.
Also, for those of you that simply notice the "sky" in your scenes flickering when using Shadow/Highlight Adjustment, make sure to set at least the Black Clip from .01 to 0. This will stop that annoying flicker throughout the entire clip.

How do i adjust layers below a Shadows/Highlights smart object layer

Hi
In Photoshop CC I have created a number of layers for smart tonal adjustments.
I then created a Smart object Shadow/Highlight layer base upon a copy of all layers below.
However my layers below can no longer be altered as the Shadow/Highl;ight layer is a copy of them.
Is there away to allow me to stack the layers so that i can still make adjustments to my layers below after have created a Shadow/Highlight layer.
Seems impossible.

You can stack SOs pretty much for ever. Just right click the SO with the Shadow/Highlight adjustment, and turn it into a Smart Object. Then you can add a layer mask to make parts of the underlying layers visible. But you mainly need to manage your workflow to avoid this situation, or use the SO as a new Background Layer, and carry on working from there. That is how I tend to work.
Incidentally, as you have CC, do consider using Camera RAW as a filter, on a SO layer, in preference to Shadow/Highlight. S/H was always portrayed as Photoshop magic, but in actual fact it produces nasty artefacts and makes an image look unreal and plastic. When the Camera RAW engine was updated with the Process Version 2012 (PV2012) with version 7.#, it took a big step forward, and allowed drastic use of the sliders without the nasty artefacts this would have cause with earlier versions. AFAIK S/H was not updated, and IMO should have a little skull and crossbones next to it in the Image > Adjust menu. Or better still, removed altogether.

Shadows/Highlights effect

When editing HD videos in Premiere Elements 12, the effect known as Shadows/Highlights is automatically applied to a clip when I insert it into the timeline. This effect causes the clip to appear grainy, so I have to delete it for each clip. Is there a setting that I can choose so this effect is not applied automatically?

WRABVideo
I have something for you to try.
Go to Edit Menu/Preferences/General and make sure that there is a check mark next to "Show all do not show again messages".
Close out of there.
Drag one of your images from Project Assets (one that has been having the automatic Shadow/Highlight applied to it and has been causing Shadow/Highlight Panel to appear in the Applied Effects Palette without you doing anything.
The result should be the pop up of the Smart Fix dialog with the message about "Fix quality problems in clips? Yes or No. What you do here is important.
First...put a check mark next to "Do Not Show Again" and click No.
When you drag one of your darker image clips to the Timeline, you should not get Shadow/Highlight effect applied to your clip unless you actually do it yourself.
I have road tested this, and it seems to explain your situation.
I believe that you were triggering Smart Fix (whose messages were under the do not show directive and was last left with a Yes to fix quality problems.) And Smart Fix was using Shadow/Highlight as part of its fixes for your photo.
Let us see if this explanation and suggested fix works for you. I think the SG gave you the right direction at the onset but I do not see where it was explored.
Thanks.
ATR

CS4 recovery slider vs shadow/highlight

Is it my imagination or does the adjust highlight slider in Photoshop CS2 (image/adjust/shadow-highlight/adjust highlights) do the same thing, give the same results as the recovery slider in CS4 Camera Raw 5.0? If not, does anyone know what the difference is? I'm trying my best to retain the blown out whites.
Thanks,
Airpix

The big difference between them is that you can use Recovery on raw files to bring back detail out of pure white because you still have information there (not always but you usually do) while a pure white in Photoshop doesn't have any information in it whatsoever.
The other difference (and i'm not 100% sure about this one) is that the Recovery slider works only on the luminance values (it darkens the highlights) while the Shadows/Highlights is an edge detection filter which is why you get halos when you have a huge amount and a low radius
The best solution would be to make as many tonal adjustments as you want/need in Camera Raw and then open it in Photoshop as a Smart Object (shift+click on Open Image to turn it into Open Object) and apply the Shadows/Highlights filter if you need it.

Fill/Recovery vs Shadow/Highlight

I thought the beta version of LR4 would have the Shadow/Highlight sliders instead of Fill/Recovery. I downloaded it and LR4 beta still shows Fill/Recovery. How do I get Shadow/Highlight?
Tina

Nevermind. I found it. Thanks!
Tina

Shadow/Highlights filter in Flash like in Photoshop

Is there a way to create Shadow and Highlights filters in Flash like in Photoshop?
Is it possible using ColorMatrixFilter or ConvolutionFilter?
Is there any examples of Shadow and Highlights filters created with Pixel Bender?
Thanks in advance!

My guess is this should be possible in Flash. However, whether it will be possible in Flash using Pixel Bender is another question. I don't know enough about the algorithm to say for sure whether Pixel Bender will be of any help to you in replicating the Shadows/Highlights functionality.

Shadow/highlight effect not available

Running Premiere Pro CC 2014. Trying to manipulate tonality in a clip. With clip selected Effect Control tab only shows motion, opacity and time remapping controls. How do I get Shadow/Highlight to appear in the panel?

I've got "more options" option by an arrow thingie down past "Temporal Smoothing" ... clicking the arrow brings up the tonal-change options.
Curious .. what sort of tonality work are you doing? As I'm wondering if this is the best effect for what you want to use?
Neil

Shadows/highlights is really welcome.

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