Shadows slider in Elements 7 ACR 5.6

I started shooting in jpeg + raw with my Nikon D90. I’m trying to learn how to make my images as accurate as possible. I bought a book about using camera raw that seemed to be aimed at the version of Photoshop Elements I use, Version 7. However, in addition to dealing with acr in Photoshop Elements 7, it also deals with similar versions of both Photoshop and Lightroom.
I’m trying to optimize an action shot of a fourth grade football team, taken between 12pm-1pm with daylight saving time, so the lighting would be 11am-12pm standard time. I figured this would be a good image to play with because the white balance would be fairly easy to set.
One team had white pants, white helmets, and deep red jerseys while the other team had white pants, white helmets, and white jerseys. Because it was basically bright noonday sun, it is a high contrast scene, with both shadows and highlights clipped. I realize the image is beyond the dynamic range of the camera senor, but I want to get it as close as possible. I’ll probably have to let a few highlights go, in addition to specular highlights that occur on the helmets and white uniforms.
In a section of the book dealing with shadow and highlight clipping, there is a reference to a “shadows” slider. However, my acr, version 5.6, has no shadow slider. Which slider in my acr interface is the equivalent slider? As far as I can tell, the book makes no mention of either the recovery or fill light sliders that are on my acr interface, except to show them within a figure.
I want to use the “alt key” option to view the clipped shadow and highlights to help optimize the exposure and other things.
Your assistance is very much appreciated.

Try the Blacks slider, right under Fill Light.

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Thanks!

I think what you meant to say was “When the range of the brightnesses in the scene”.
But even then, it is not very practical. Not all the parts of scene need to be reproduced. Some can be plugged, while some can be clipped.
Now, if the range of brightnesses for the important part of the scene exceeds the DR of the sensor and shadows are plugged at image capture, no shadow lifting can help. In fact, such an action results in murky shadows with more visible noise and blotches.
I think your estimation of 99% is a strong hyperbole. Kodak determined that close to 8 stops is enough for most of the situations, and if they were wrong their film business would never have existed in the first place.

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for me the Highlights and Shadows sliders work like before. They increase the brightness of the shadow areas.
Are you using iPhoto 9.4.2?
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jPo
JP Owens wrote:
any LUT (such as color space settings) that the crew may have dialed in on set, are thrown out
I thought the Primary In RED tab settings are whatever the metadata settings were when the R3D file was created... feel free to correct me on this.
I'm not certain of this... I know the proxies take on this look (sort of) as to ProRes imports via the L&T tool in FCP. However I haven't worked with much footage where they were was a DIT actually applying looks into the metadata. I've yet to look at proxies that look close to right (however I cut with them as offline 99% of the time), and when I tested the "Native" workflow and sent to Color, the look did not translate, it came in looking closer to the way raw looks in Redcine.
not sure what the crew was monitoring holds any bering on what your doing inside Color.
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I think the histogram is the most important thing here, and the rest of the workflow should be more akin to 35-mm production, where the DP comes to the Colorist session if he/she is so inclined. The rest should be though of as video assist, because to date the technology doesn't exist to where the look can be accurately baked into the footage and maintained via the raw file. IMHO... prores is not an acceptable workflow for online finishing, and there is always the need for final color correction.
using Camera RGB as color space and Redlog as gamma space.
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gdp001 wrote:
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