Tonal Saturation

I would like to see a curves-like box available for saturation based on tonal value. By adjusting the curve, a user could manipulate levels of saturation based upon luminosity i.e. shadow saturation, midtone saturation, and highlight saturation.
Why is this important? Well, the most important reason is that the human eye is very poor at seeing color definition in low light. Conversely, cameras are just as good at seeing color in the dark as in the light. This is one of the reasons why cameras aren't very well able to reproduce night scenes.
In any case, I would like to see a lum:sat box. What do the rest of you think?
~J

When you say the Basic panel has disappeared, do you mean the whole right side panel or individual tools such as the White Balance tool is gone? If it is the whole right side panel that is missing, you may have hidden it. Using the Tab key, you can cycle between hiding and showing the side panels. You can also move your mouse over to the far right side of your screen to get the panel restored but it will disappear when you move your mouse off the panel. There is also a small triangle on the left edge of the right panel that you can right click on in order to determine the show/hide behavior (I personally use the manual mode).
Regarding the individual windows contained in the left/right panels, they can be opened and closed by clicking of the triangle that is displayed next to name of the tool in its header bar. While you can elect what modules will be shown on the LR Top panel, I am not aware of any mechanism to completely hide individual tools in the left/right panels. If all else failes, you can hit the Shift/Tab key combo a few times to restore all of your windows the the default behavior.

Similar Messages

BRIDGE ALTERING TONALITY & SATURATION?

Ref; Win7-64/ PS CS6. Adobe RGB set in the camera, & PS Work-Space.
I recently elected to "alternate" from Canon DPP-- to Bridge for reviewing .CR2 raw files from my Canon 7D/ CF card.
I noted that when selecting an image & clicking the Space-bar the image goes to "full" screen, & if I click the Space-bar again "it" returns to the thumbnail with no apparent change to the file---- BUT---
if I click the space bar to enlarge---, and then click on the image to "zoom in" on it, the image becomes "darker" & far more saturated, & when I click the Space-bar to return to the thumbnail---The thumbnail has changed to the darker more saturated condition.
When the images are opened in ACR they are unchanged from the original.
Just curious as to why Bridge would make those "visual" changes. Though it doesn't alter the raw file in any way, it seems rather strange, & it makes the image evaluation process a bit "sticky".
Regards,
Leigh

Cannon and Nikon have different RAW formats, so Bridge will have to have correct conversion program to read them. Make sure you have latest update of Bridge. Don't have answer but remember seeing questions about Canon images. Try a search of this forum with Canon RAW or thumbs or other variations. Also check out search of knowledgebank.

Use Color or Magic Bullet Looks for complete grade and effects?

I am a long time MB Looks user - not heavy dosages but I do find it easy and fast as it keeps you inside FCP and along with the 3-Way CC it was efficient.
I am nearing an edit on a 80 minute documentary which involves going from color to clips converted to black & white and sepia tone for effect. I am thinking to use Color workflow for the entire color grade and effects.
Does Color dispense the need for Looks altogether? I have used color a few times now but not on a complete feature length, so I would need to sharpen my knowledge.

Jon Braeley wrote:
Does Color dispense the need for Looks altogether? I have used color a few times now but not on a complete feature length, so I would need to sharpen my knowledge.
Color, MB Looks, FCP's 3WCC are all arrows in our quiver. We don't need to give one up to use another.
I'm working on a doc now (it's rendering out in Color as I type this) that has "Hero" shots being treated in MB Looks. But I use Color to even out all those Hero shots so the MBL settings I'm using will be applied consistently. But even then I find it useful to to precede MBL with a 3WCC so I can easily adjust the tonality, saturation, and color palette of the shot without having to step back into the MBL interface.
I can definitely guarantee that I couldn't have graded this show in 2.5 days if I just kept myself to using only the FCP interface. Even with the prep time for the Color round-trip - I get better results faster...
- pi

In Module, the Basic panel (white balance, color saturation and tonal scale) disappeared. How can I restore these tools?

In Develop Module, the Basic Panel (white balance, color saturation and tonal scale) disappeared. How can I restore these tools?

When you say the Basic panel has disappeared, do you mean the whole right side panel or individual tools such as the White Balance tool is gone? If it is the whole right side panel that is missing, you may have hidden it. Using the Tab key, you can cycle between hiding and showing the side panels. You can also move your mouse over to the far right side of your screen to get the panel restored but it will disappear when you move your mouse off the panel. There is also a small triangle on the left edge of the right panel that you can right click on in order to determine the show/hide behavior (I personally use the manual mode).
Regarding the individual windows contained in the left/right panels, they can be opened and closed by clicking of the triangle that is displayed next to name of the tool in its header bar. While you can elect what modules will be shown on the LR Top panel, I am not aware of any mechanism to completely hide individual tools in the left/right panels. If all else failes, you can hit the Shift/Tab key combo a few times to restore all of your windows the the default behavior.

Histograms: luminosity or saturation?

--------------------------------------------------------------------------------
I've been learning Photoshop for quite a while, I've done lots of tutorials and read a few books, but I can't find the answer to this simple thing: In the histogram palette menu there are red, green and blue histograms to give the saturation of those colors, and a luminosity histogram to give the overall ( greyscale) brightness. There is also an RGB option, presumably to give a composite version of the red, green and blue saturation.
In Levels, however we have the same thing, except there is no luminosity option, only RGB. But RGB in this case cannot be a composite of the three color channels, as we use it to adjust brightness and contrast; in other words it is presumably the same as Luminosity in the histogram palette. Despite this, when I do adjustments to an image the RGB histogram in Levels looks identical to the RGB histogram in the histogram palette. I'm obviously missing something, but I don't know what. Can anyone help?...I'm using PS 3 Extended.

On Sat, 11 Oct 2008 12:38:05 -0700, [email protected] wrote:
Good questions. It's no wonder that the histogram tool is a bit confusing,
since very little is said about it in the PS documentation. There are five
histogram "modes", RGB, red, green, blue, luminosity, and colors.
> 1) In the histogram Palette ( and indeed in Levels) do the color channel histograms
> represent luminosity ( which I take to be brightness) or color saturation? (These
> are presumably separate entities).
Speaking only of RGB images, the red, green, and blue channel histograms
are the first ones to sort out. They represent the number of values
(0-255) of each color channel. The Color histogram is a superimposed
display of red, green, and blue histograms. The absolute height of the
peaks in the histogram is determined by the height of the maximum peak, and
this is done on a per channel basks.
> 2)Does the black RGB histogram represent a composite of the 3 color
> channels( as I think you've said ) or the grey tonal values? If the
> former, why do we use it to adjust tones ie. make the image darker
> or lighter,increase contrast etc?
The black RGB histogram is a combined view of the histograms for each of
the three channels, however all the channels are vertically scaled by the
same amount, instead of being scaled individually per channel. This means
that the location of the peaks for each individual channel stays the same,
but that the height of each peak will be smaller for two of the channels.
> 3) What is the luminosity option for in the Histogram Palette and why is there not one in Levels?
Luminosity is calculated by taking the weighted sum of the red, green, and
blue values for each pixel. The weight is smaller for blue, since it is
the darkest color, and largest for green. This corresponds closely to the
histogram seen in many camera displays, and is the reason that clipping can
occur, but not show in the histogram.
> 4)In the channels palette, do the greyscale images for each channel represent colors,
> or are there really greyscale images behind each color channel?
Each channel is a grayscale image. For RGB, each image can be thought of
as providing a certain amount of red, green, or blue to the image.
> 5) Do Curves adjustments increase saturation or brightness ie. Luminosity.
Again, speaking only in RGB, Curves can increase saturation and luminosity
in a variety of ways, since saturation, hue, and luminosity information is
mixed together in each of the red, green, and blue channels. Many people
find that working in the Lab color mode is simpler, since the L channel
contains all the luminosity information, and a and b contain independent
color information. Try Lab - you might like it very much indeed.
> 6) Why is there a black channel in CMYK if each channel has its own greyscale image?
The black channel borrows data, more or less equally, from the C, M, and Y
images. This produces a fourth channel, called K, that provides excellent
control over shadows and textures. Since the CMY channels contain more
color information, they provide a very sensitive adjustment for color,
which is good for things like skin tone variation.
> As you can see, I am having problems understanding what precisely color channels
> are, and also what exactly histograms are telling us.
It takes a while for all of this to sink in, but it does not require a PhD.
Things like additive and subtractive color, and the idea that organizing
color data into different color models, such as RGB, Lab, HSB, and CMYK can
provide leverage.
> I realise this might be a tall order for a forum such as this but I would appreciate
> any help you can give.
I think it's important to work these things out from basic principles, as
you are doing. Grab a book by Dan Margulis, and some light bulbs will
start to turn on regarding the different color spaces.
BTW - histograms are a poor tool for color correction. If there are
problems with clipping or other issues, it is much better to look at the
individual channels of the image, rather than the histogram.

How to properly use tonal range definition?

Hello, I am surprised that I cannot find any resources on the tonal range definition anywhere on the internet. A lot of people touch on it but nobody actually shows you how to practically use it. I am coming from FCP 7 which I like better in color correction (there were less controls)
I assume you can define flesh tones as grey, highlights as white, and shadows as black. And then the midtone color wheel controls the grey area, hightlights wheel controls white area, and so on.
I am also using a panasonic GH3 which I have found there not to be much play in the dynamic range (as compared to EX1) It seems I only have maybe quarter stop of play in the highlights. Well thats another issue, but I would love some resources on better understanding the tonal range definition feature in three way color corrector.
Thanks!
Jay

Hello Jay ...
Which version of PPro are you using? Do you have Speedgrade also? Or AfterEffects?
I've got a GH3 three, and also a D600 Nikon. LOVE working with the GH3 footage ... the D600's ok. Does either of them have the total dynamic depth of a Red or Arri? Um ... no. But precise metering and WB before exposure should give you a complete range to deal with in post afterwards. I'm not sure of your experience, but ... if you are planning on doing much "grading", as corrections of color/s-/tonality are called, you do want to shoot fairly "flat" as far as contrast settings in the camera. Most users of the GH3 ... no matter whether they use "Natural" or whatever as the base mode to shoot in ... set contrast to -1 to -4. In-studio stuff with very controlled lighting and exposure, -1 to maybe even 0 would be ok. Outside in bright light ... probably you're better of around -3 or -2 for contrast. Color ideas have changed a bit recently, at first "the Received Wisdom" was saturation at -4 or so, now ... a lot of us are moving to more -2 or thereabouts.
This gives you files that you can pretty much grade the Hades out of ... again, they don't have the total "depth" of a $20G camera. You don't have room enough to ignore tight WB and exposure to begin with. Take care of those, you can do amazing stuff with the files.
Now ... as to grading in PPro ... not the easiest. The three-way color corrector is used by a lot of people who work there, and it's good to get a handle on the settings that control where and when those wheels "work", whether on over-all, shadows, mids, highs. And yea, you kinda need to hunt for that and then play with it a while. I did NOT find that intuitive when I started with it. To be gentle of comment. In the CC versions there are better tools for grading in PPro, so yea ... it can be done. Read the books if you're going to grade there.
The Hurkman book referenced above is EXCELLENT ... as is Hullfish & Fowler's "Color Correction for Video" ... also sitting here by my monitor. Read through those two, you'll have a vastly deeper understanding of what happens in ANY program you grade in. They both talk about the typical controls and sub-controls in video grading programs. I found understanding some of the sub-controls that "limit" the effect of the dials and whatnot in PPRo to be more complicated than just going into Sg.
If you are on the CC apps, then you should also have access to Speedgrade and AfterEffects. Even on the pre-CC versions, you may have PPro & Ae ... a lot of people (like myself) did. Speedgrade is a grading program, period. And with the new direct-link from PPro in the CC versions, you don't "export" an edl or anything to go grade ... just click a menu item & your timeline opens in Sg. WAY cool. When you're done grading, you just click to go back to PPro and it saves the file and takes you back to PPro ... sweet. After reading the mentioned books, watching a LOT of lynda.com tutorials and some from Creative Cow and Adobe, I've found Sg to be a very handy program, like working in it very much EXCEPT for the poor utilization of the scopes, which ... well ... anyone who's read much of anything here or on the Sg forum knows about. Sigh. They're usable, if not optimal.
There are quite a few people who don't bother with Sg and instead prefer to grade in Ae. I found that possible but oh my ... my head hurts at all the options all it's controls have. It can do about anything, though. It works quite well for master-level graders who have tons of their own LUT's that they use as a "base" look for near anything they'll work. Shian Storm has his "Color Ghears" for that ... and they can do a huge amount on your "look" by just cliking one or the others within Ae. There's many places to get LUT's to expand your tool-set.

How much of the RAW tonal range is conserved when using "Merge to HDR Pro"?

Hello,
I am wondering how much tonal range is saved when making a HDR image with Photoshop? I have three photographs with an EV diference of 3. I can combine them into one HDR file just fine, but I can't turn one of them into an HDR file. This has made me wonder the following. If Photoshop is unable to turn one RAW image into a 32-bit image, then how much range is lost in the conversion process? If I try to open a RAW file in Photoshop for saving into a EXR. file for instance then I notice that Photoshop simply turns my image into an ordinary 8-bit per channel image.
I am using a camera with a very good CMOS sensor and the RAW data that my camera produces is of a very high tonal range. It would be a shame if Photoshop discards said range. This is a question that is very hard to Google since everyone that is using HDR is obsessed with tonemapping. I have to clarify that I don't care about tonemapping I just need the range. I would love to have an official Adobe employee answer some of my questions.
So these are my questions:
Why can't Photoshop turn a single RAW file into a 32-bit image by using HDR Pro?
Does the fact that Photoshop can't turn a single RAW into a 32-bit image mean that all the range is lost when merging many RAW files?
Does anyone know of a way to capture the full dynamic range of a single RAW image without using time consuming nonsense like virtual bracketing?
If there is a way. How would you combine many 32-bit images into a single 32-bit image in order to maximize range.
Why is no one else wondering about these things?

I am looking forward to an anwer concerning the HDR preview-result-difference as well... Since some posts suggest to check out the color profile of the input files, i did so: they are both sRGB. And the immense change of saturation and brightness (in other examples even worse than below) couldn't be explained by a different profile anyway, IMHO.
working parameters:
Adobe Brigde CS6 (Tools/Photoshop/HDR PRO)
Adobe Photoshop CS6
sRGB both input and output...

Do Luminance values affect colour saturation?

Hi, after many months I eventually reduced my cd/m from 125 to 100 when calibrating my monitor at 6500 for daytime work and 5800 for evening work. I was always having printouts darker than screen you see. Now the shadow and highlights are spot on in photoshop (no discrpency anymore) But, I now find that in CS3 my colours are slightly more saturated in the prints and even more saturated in Illustrator CS3 on graphics. rendering intents have not been altered for printing, all the usual parameters remain unchanged - just the new calibration target of 100 cdm. So does this lesser luminance mean my colours on the screen are less saturated because of this?
thankyou kindly.

cvbotr,
Actually....yes....brightness can affect saturation. If you think about it, as you approach pure white or pure black, saturation MUST decrease. For example, you can't have a pure white color that is also a highly saturated red. That is an "impossible color", at least from a human perception standpoint. You can define such a color in L*a*b* color space, but it will display as something other that a pure white / highly saturated red. The same thing happens as you approach black....the chroma (or saturation) diminishes. Saturation usually max's out somewhere in the midtone region, and adjusting tonality from that point toward either white or black will reduce the saturation that a given color space can display.
A darker image often appears "richer" and more saturated. Of course, it depends on the tonality of the pixels you are looking at. Lightening a very dark image can increase saturation, and darkening a light "washed out" image can also increase saturation. This is largely a human perception issue. If you have a CMYK color that is 100C, 100M, oY, 100K, I guess you could say that is a very saturated Dark Blue, but when you look at it printed on a sheet of paper, it is a deep, rich black, not blue. If you take out the black component, now you have a dark blue. At what point does dark blue become black? It is a human perception thing.
In RGB terms, the most saturated red you can achieve is 255R, 0G, 0B. The only way to make this color lighter is to increase the green and blue components. As those two components increase toward 255, you invariably move toward white, with a resulting loss in saturation. You can observe this in the Photoshop color picker.
I remember a photo I took of bright autumn foliage on a brilliant October day in late afternoon. The leaves were backlit. I wanted to portray that bright scene with light, shadows, and the dazzling colors of the red and yellow leaves with the sun shining through them. It's a difficult challenge on an RGB monitor, and doubly difficult in print. The dynamic range and color gamut of the real scene greatly exceeded what both the monitor and printer were capable of delivering. I started by making the highlights as bright and the shadows as dark as possible. Unfortunately, this lightened some of the reds and yellows, and consequently, I lost some of the intense color saturation that the picture was all about. There was no perfect answer to this problem, but I finally sacrificed some brightness to achieve better color saturation and found a balance that worked for me. That is a perfect example of what you are talking about.
BTW, I find 90-100 cd/m2 to be about right for good monitor to print matching. I use 90 cd/m2, 5200K, and 2.2 gamma.
Lou

In Photoshop CC (2014), Hue/Saturation adjustment layer properties disappear

I am running Photoshop CC (2014) under Windows 7 Professional. The program is up to date.
Today, while editing an 8-bit image, I added a Hue/Saturation adjustment layer. Then, in the properties panel for this layer, with the on-image adjustment tool selected, I clicked a color in the image to get a range of colors whose saturation I wanted to adjust. Next, using the saturation slider in the properties panel, I increased the saturation of this range of colors. Finally, I closed the properties panel by clicking on the double arrow in the upper right corner.
Later, I wanted to modify this adjustment layer. I double-clicked on the layer thumbnail to reopen the properties panel, and found that, although the previous increase in saturation was still operating, the saturation slider was back at its default position, and the range of colors that I had previously established was gone. Thus, I could not make further adjustments to this range of colors.
I then did some further experimentation: I deleted the first Hue/Saturation adjustment layer, and created a new Hue/Saturation adjustment layer. I then again established a range of colors as above, again increased the saturation of these colors, and then again closed the properties panel by clicking on the double arrow in the upper right corner. This time, however, when I wanted to try to modify this adjustment layer, instead of double-clicking on the layer thumbnail to reopen the properties panel, I right-clicked on the layer and then clicked on "Edit adjustment..." This opened the properties panel, which, this time, correctly showed my original adjustments -- the saturation slider showed the positive adjustment that I had previously made, and the range of colors established earlier was still shown. But then, on a hunch, I added a Curves adjustment layer above the Hue/Saturation adjustment layer. Now, when I again opened the properties panel of the Hue/Saturation adjustment layer (by right-clicking on the layer and then clicking on "Edit adjustment..."), my previous settings were gone -- the saturation slider was at its default position and the range of colors was gone! (But the increase in saturation was still operating.)
Thus, it appears that there is a bug in the functioning of the properties panel of the Hue/Saturation layer: In short, once you have added a further adjustment layer, you can't then go back and make changes to the properties of the Hue/Saturation layer. I would be interested to hear if others have noticed this. Also, is Adobe planning to address this?

OK, I am not entirely sure I have understood your post completely, but when you edit a colour range with a Hue/Sat layer, and click off and back on again, it will default to showing the RGB values, which you may not have made any adjustment to. If you pick the previous colour from the image, or a similar colour, it _will_ show you the adjustments. So long as your picked colour is contained within the range of the previous adjustment.
Ypu could also use the RGB drop down (actually they call it Master nowadays), and chose the colour that is closest to your previously picked colour. I expect you are away that you can edit the colour range being operated on by dragging the four sliders on the two colour bars at the bottom of the Properties panel.
Does that make sense, or am I going in the wrong direction?

Loss of saturation in Save for Web

Hi,
Objects that I export as PNG24 files using Illustrator's "Save for Web" feature result in files that a considerably less saturated than they appear in the Illustrator file (I'm working in RGB).
What's up? Is there a quick/easy way to make sure the raster files look just as saturated at the Illustrator objects?
Thanks!

calibrate and profile your monitor to the Web standard 2.2 gamma, not the Apple default of 1.8.
create your Web artwork in the sRGB color space (not Adobe RGB)
Save for Web.
You may still see some color shift when you save the image with no profile, but the above steps should minimize it.

How can I get hue, saturation & luminance visible in the Loupe?

For the life of me I can't figure how to get visible in the Loupe - Hue, Saturation, Luminance as I move the Loupe around a photo.
I can get R,G,B,L. Is there a secret to get the Hue in it? I checked preferences and even searched in Aperture Help. NO luck.
I'm in Aperture 3.0.3
Thanks

It is a tad secret.
Make sure colour value is set in the Loupe menu then:
In the Adjustments inspector choose a color value option from the Adjustment Action pop-up menu (with a gear icon). HSB i smiling at you in that list
Then it'll appear as a colour value in the loupe.
BTW You'll find all this in the Displaying a Pixel Grid and Color Values section of Aperture help.
HTH
M.

How to tell if you are saturating g5 bus

Hi,
I went ahead and hooked up an OWC Enterprise RE SSD 50 gb drive on the board controller. I am still hoping the Delock Sata2 adapter will work but I thought i would try it with out to compare, After instal I xbenched it, and got a combined score of 152.53. Although It seems as if I remember xbench getting some criticism for its accuracy I will post the report anyway. Does this show the sata1 bus being saturated by the SSD or is this not the correct way to test for it.

Ya, I was just B**ch7678. I just needed a big drive to park info on so i could re-initialize on of the 2 tb drives that went into the following RAID 1 numbers of my 2320.
Here are the numbers:
Results 114.36
System Info
Xbench Version 1.3
System Version 10.5.8 (9L31a)
Physical RAM 12288 MB
Model PowerMac11,2
Processor PowerPC G5x4 @ 2.50 GHz
L1 Cache 64K (instruction), 32K (data)
L2 Cache 1024K @ 2.50 GHz
Bus Frequency 1 GHz
Drive Type HPT DISK 1_0
CPU Test 150.40
GCD Loop 114.56 6.04 Mops/sec
Floating Point Basic 167.56 3.98 Gflop/sec
AltiVec Basic 329.42 13.13 Gflop/sec
vecLib FFT 127.92 4.22 Gflop/sec
Floating Point Library 129.97 22.63 Mops/sec
Thread Test 214.66
Computation 259.53 5.26 Mops/sec, 4 threads
Lock Contention 183.02 7.87 Mlocks/sec, 4 threads
Memory Test 159.90
System 167.87
Allocate 233.98 859.24 Kalloc/sec
Fill 238.67 11604.71 MB/sec
Copy 106.30 2195.67 MB/sec
Stream 152.64
Copy 150.05 3099.29 MB/sec [G5]
Scale 148.01 3057.84 MB/sec [G5]
Add 154.55 3292.18 MB/sec [G5]
Triad 158.38 3388.14 MB/sec [G5]
Quartz Graphics Test 175.72
Line 137.63 9.16 Klines/sec [50% alpha]
Rectangle 171.84 51.30 Krects/sec [50% alpha]
Circle 157.76 12.86 Kcircles/sec [50% alpha]
Bezier 149.77 3.78 Kbeziers/sec [50% alpha]
Text 424.90 26.58 Kchars/sec
OpenGL Graphics Test 103.90
Spinning Squares 103.90 131.81 frames/sec
User Interface Test 155.62
Elements 155.62 714.22 refresh/sec
Disk Test 45.64
Sequential 123.53
Uncached Write 122.19 75.02 MB/sec [4K blocks]
Uncached Write 175.98 99.57 MB/sec [256K blocks]
Uncached Read 69.20 20.25 MB/sec [4K blocks]
Uncached Read 246.06 123.67 MB/sec [256K blocks]
Random 27.99
Uncached Write 8.70 0.92 MB/sec [4K blocks]
Uncached Write 65.66 21.02 MB/sec [256K blocks]
Uncached Read 128.51 0.91 MB/sec [4K blocks]
Uncached Read 200.07 37.12 MB/sec [256K blocks]
So sorry, about the PC people poke as I have always(cough) gamed on a PC. Mac actually, after all, first went usb on imac g3's and dumped the floppy drive.

IPhone 4 OS 7.1.2 (11D257) display normal when switching on, turns to very high contrast primary colours only, no tonal graduation. Wifi no longer works.

iPhone 4 OS 7.1.2 (11D257) display normal when switching on, turns to very high contrast with bright primary colours only, no tonal graduation.Initially problem arose every time I switched the Camera on, but has worsened such that any application can cause it. In Camera, after a short time screen goes black. Also, Wifi no longer works.

You're welcome
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Out-of-warranty repair service
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Read Apple’s Repair Terms and Conditions
Model
Out-of-warranty service fee
Battery service*
iPhone 6 Plus
$329
$79
*available only if battery
fails Apple’s diagnostic test
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iPhone 4, iPhone 3GS, iPhone 3G,
Original iPhone
$149
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copied from Service Answer Center - iPhone

Why are saturation results different than Matlab's imhist() function?

We have a machine vision application where we had set some threshold levels in Matlab, and had planned on applying them to NI's IMAQ libraries. However, when trying to reproduce a set of Matlab results to verify our VB code was working, we found that we could reproduce Matlab's results on the R, G, B, and H planes, but not the S plane.
For example, if you take the 50% red image at http://www.cae.tntech.edu/~mwr/red-50.png and load it into both Vision Builder and Matlab, you get the following results:
Matlab:
rgb=imread('red-50.png');
hsv=rgb2hsv(rgb);
[hist_s,bins]=imhist(hsv(:,:,2),101);
bins(find(hist_s==max(hist_s)))
ans =
0.5000
Vision Builder 6.0.5:
Load red-50.png
Extract Col
or Planes: HSL - Saturation Plane
Histogram -> results in a peak in bin 64 on a 0-255 scale.
How many different ways are there to calculate saturation? So far, Matlab and Corel Photo-Paint agree on their calculations, and Vision Builder is the odd one.

Mike,
Thank you for posting on the forum. We spoke regarding this question, but I wanted to reply to this post with some information for other readers. You can see how we are calculating the HSL plane by examining the equations in the Vision Concepts Manual. Using the formulas, I was able to confirm that we are calculating the value for the HSL plane from the equation listed there:
S = 255(1-3min(R,G,B)/(R+G+B))
where R, G, and B in this equation are normalized. So given an RGB image (255,127,127) then we get the following values:
S = 255(1-(3*.5)/(2))
S = 63.75
I also created an image in just MS Paint with the RGB values of (255,127,127) and that gave me HSL values of (0,240,180) -- or in MS Word HSL values of (0,255,191). These latter values match
ed the HSI values returned from LabVIEW (using the IMAQ ColorHistogram VI).
Regards,
Michael
Applications Engineer
National Instruments

BUG: LR5 Quits when I use keyboard arrows to adjust saturation of Split Toning colors.

File: Canon .CR2 raw
LR Module: Develop
When attempting to adjust saturation of colors in Split Toning, LR immediately stops working. Specifically, when attempting to manually select a Split Toning color --> Click Color Box to open full range of Hue & Saturation options --> Click numeric box to adjust saturation --> press arrow keys on keyboard to adjust # up or down --> LR IMMEDIATELY LOCKS/QUITS.
A closer view:
My System Info:
Lightroom version: 5.0 [907681]
Operating system: (Build 9200)
Version: 6.2 [9200]
Application architecture: x64
System architecture: x64
Logical processor count: 8
Processor speed: 3.0 GHz
Built-in memory: 16270.8 MB
Real memory available to Lightroom: 16270.8 MB
Real memory used by Lightroom: 549.9 MB (3.3%)
Virtual memory used by Lightroom: 525.1 MB
Memory cache size: 399.8 MB
Maximum thread count used by Camera Raw: 4
System DPI setting: 96 DPI
Desktop composition enabled: Yes
Displays: 1) 2560x1440
Application folder: C:\Program Files\Adobe\Adobe Photoshop Lightroom 5
Library Path: C:\Users\Matt\LR_Catalogs\LR-CAT_2013\LR-CAT_2013-2.lrcat
Settings Folder: C:\Users\Matt\AppData\Roaming\Adobe\Lightroom
Installed Plugins:
1) Behance
2) Canon Tether Plugin
3) Facebook
4) Flickr
5) Leica Tether Plugin
6) Nikon Tether Plugin
Config.lua flags: None
Adapter #1: Vendor : 8086
    Device : 162
    Subsystem : 54b1028
    Revision : 9
    Video Memory : 32
Adapter #2: Vendor : 10de
    Device : fd2
    Subsystem : 54b1028
    Revision : a1
    Video Memory : 7ca
Adapter #3: Vendor : 1414
    Device : 8c
    Subsystem : 0
    Revision : 0
    Video Memory : 0
AudioDeviceIOBlockSize: 1024
AudioDeviceName: Speakers (Realtek High Definition Audio)
AudioDeviceNumberOfChannels: 2
AudioDeviceSampleRate: 44100
Build: Uninitialized
CardID: 354
Direct2DEnabled: false
GPUDevice: D3D
MaxTexture2DSize: 8192
OGLEnabled: true
Renderer: Intel(R) HD Graphics 4000
ShaderModel: 11.1
Vendor: Intel
VendorID: 32902
Version: 8086:0162:54b1028:0009

I have verified this and agree it is a bug. A bug report has been filed.

Tonal Saturation

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