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In this movie, we're going to take that image that we manipulated in the previous movie inside camera Raw, which is just noisy as heck as you can see here. And we're going to eliminate that noise and turn it into this impeccably smooth, sharp, portrait shot that you see before you now. So I'll start off inside of our image so far and you can see that we've got this camera raw smart object inside of the layers panel. I'll go ahead and double-click on its thumbnail in order to open the image inside of camera raw.
And I'll zoom in a couple of times as well by pressing Ctrl+Plus or Cmd+Plus on a mac. And, you know what? We're going to have to zoom in even farther folks by pressing Ctrl+Alt+0 or Cmd+Option+0 on a mac. Which will take us to a 100% and that way. We can see all of the noise in its glorious detail, so I'll sort of focus in on James' eye over here. His left, but it's on our right, of course. And that way, we can keep track of an important detail as well as looking up his nose and seeing all this noise over here on the dark left-hand side of the face.
All right, the first thing you want to do is click on the FX icon. In order to switch over to the grain options, we're going to crank the grain down. Set the amount down to zero, and that will just get rid of all the grain, because after all, we're trying to eliminate the noise, and if we eliminate the noise with the grain still in place, then all we'll see is grain. Now switch over to the detail tab by clicking on the icon that has little cones here. And mostly what we have is luminance noise so I'm going to go ahead and crank that luminance noise value up until the luminance noise pretty much just disappears which obviously happens around 100 we don't have any luminance noise what we're seeing now this weird noise that you can still see.
Over here on the left hand side of the image. So, that's color noise which we'll address in a second. But, nominous noise meaning differences in the brightness values of neighboring pixels. Arbitrary differences, by the way, that are not found in the real world. They're added by the camera. Those are completely gone now, but we've got too much smoothing at a hundred. So, I'm going to take this value back down to about 90. because that's pretty much the threshold between where we start seeing noise, and then where we don't see noise anymore, more or less.
So I'll go with a luminance value of 90. And this is the luminance value by the way, that gets rid of the noise, see. Other two values try to re-establish detail. So what you want to do now, is crank that detail value up as high as you can go without starting to bring back noise inside of the image. So notice over here In this low detail area, over here on the left hand side of the face, and another very illuminative varies down here on the chin, we're starting to see pock marks all over the place, and it becomes worse and worse as I crank that luminance detail [LAUGH] value up to 100.
Now it's just terrible, I don't even know what this looks like anymore. But we don't want it, at least I don't, so I'm going to take this value down Until pretty much all that stuff goes away, which happens at a luminance detail value of about 60. And that seems a little low to me, let me see if I can get away with a higher value, here. What happens if we take this up to 80, let's say. We get a little bit of pock marking here and there, but I think we'll be able to survive it. Now, let's mess around with the luminous contrast value.
I'm going to stay in this low detail here. This is on James's neck. And the reason it's low detail is, not only is it lost in shadow, but it's also very much beyond the depth of the field, so that it's in low focus. And notice what happens when I start cranking this luminance contrast value, which starts off at 0. And normally it doesn't make much of a contribution to the Luminous Noise reduction but when we have the Luminous values cranked so high. So I'm going to now bring this up, and notice what starts to happen.
We're bringing in grain inside the noise and we're bringing in a kind of arbitrary contrast as well over here in the shirt, so I'm down here in the far bottom left corner of the image at this point. So now what I'm going to do is back this value off I'm going to take the luminous contrast value down pretty darnn far so that we have a little bit of green action going on but not too much at least for my taste. And that happens at a value of 15. Of course you can try out your own values if you want too you don't have to go with mine.
Now then, let's mess around with the color noise because my goodness, there's a lot of color noise inside of this image. And that's showing up as these sort of purple values here inside the skin tones and inside the background. So we've got these sort of low saturation purples and greens and oranges competing for attention. These blues, by the way, are lens flare. So we're going to go ahead and let them survive. But the other stuff we want to smooth out. So you might think, that you'd want to take up this color value here. Notice if I take, the color value down to zero, how much color noise.
Is at work inside of this image. So there's just tons of color noise naturally. So you might think, 'Well, gosh.' What you want to do is crank this up as high as it'll go without something like the irises running into the whites of the eyes. Let's check on what's going on there. Well, James fortunately has his eyes mostly closed because after all he has this very bright light source, right next to his eye. So, that's the way it's going to work out. And we're not really seeing any color [UNKNOWN] from the iris into the wide of the eye.
Which is normally what happens if you try to go too high. With the color noise value but what I'm going to do just so you can understand the other two values at work here. I'm going to take this value down to its default of 25. Then you can play with the color detail value if you want too. I don't know that you're really going to see anything happen inside this image. Oh yeah you are look at that. As soon as you start taking that color detail value up too high. We get all kinds of pixels lighting up inside the low detail area.
So we don't want that. I'll go ahead and take that value down to 50 because at about that level everything looked fine. I wonder if we can take it down Even lower because there's this one bright spot that keeps showing up right here, south of his nostril. Do you see that little area? So, if we increase the color detail value too far, it starts turning pink on us like that. Anyway, so maybe I'll just leave it down at zero for now. Notice that we still have some color modeling going on. Well a lot of that is because, I don't have my color value cranked very high.
And this value, this first color value, is in charge of getting rid, of the color noise in the first place. So you know what I'm going to do just to make things worse I'm going to take it down to five. So that we can see the variations in color pretty easily. Check out Color Smoothness. When you really have a ton of color noise like this, Color Smoothness is your friend. And so notice that if I take it down we have more variation between the neighboring colors And if I take that value up I'm smoothing those variations away to a very high degree.
And now if I take the color value up to about 25, which is its default, we have almost no variation. In neighboring colors at all. So, just for the sake of demonstration, I'll leave Color set to 25. Color Details at zero. And then I'll take the Color Smoothness value down to zero. And you can see we have tons of color modeling going on. In the low detail areas of the image. Not so much in the high detail areas, as around the eye and around the nostrils and so forth.
But, tons over here in the shadows and then when I crank that value up to a hundred, it all smooths away. And it looks absolutely great. And now, at this point... We can add some sharpness. So, I'm going to crank the Amount value, just for the sake of demonstration if nothing else, up to 100, so that we have some sharpening at work. And I'm going to take the Radius value up to 2. Now normally, I'm not a big fan of this Detail value. Notice, if I crank it up, we get all kinds of wormy, little details, like those micro-circles in a Chuck Close painting.
And that's rarely the kind of thing you want in a portrait shot and it doesn't survive in print very well at all, you're going to lose a lot of this detail, at 300 pixels per inch. In the case of this specific shot, I like the detail and I actually took it up from its default, which is 25, up to 30, so just a few digits more, right there. And we end up with this micro detail action. Notice what a difference it makes in the lips. It looks really great in lips, in these small little hairs underneath the bottom lip.
Where as if I take detail down to zero A lot of that action disappears. So, I'll go and take it back to 30 and then we've got this masking value right here. Which allows you to mask some of the sharpest and by the way you can all drag all of these sliders, that would be an option drag on the Mac. So if I alter option drag on the masking slider You can see the masking [INAUDIBLE] created on the fly. Anywhere that's white will get sharpened. Anywhere that's black will not get sharpened. Will be protected that is to say.
Anyway I'm going to take this masking value to 25 like so. And then I'll go ahead and release my mouse button and release the Alt or Option key, and we end up seeing the standard preview of the image. And it looks like that right there. And by the way, you can preview the effects of any single panel of options at a time inside Camera RAW by turning off the Preview check box. So this is the noisy before version of the image zoomed way in. And if I turn Preview back on, this is the smooth and sharpened after version.
And now I'll go ahead and click OK in order to accept that change. In the Progress bar later, we have our results. So I'll go ahead and press the f key a couple of times, and I'll zoom in to a more forgiving 66.7% here. And now, if I press Ctrl+z or Cmd+z on a Mac, That is the before version of the grainy image that we created in the previous movie. And then if I press CTL or CMD+Z again this is the no grain, super smooth, and unflinchingly sharp version of the portrait shot.
Thanks to the amazing noise reduction capabilities of Camera Raw.
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