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Fine-tuning a color cast compensation

From: Photoshop CS3 Mastering Lab Color

Video: Fine-tuning a color cast compensation

All right, now that we have applied our gross color cast compensation, let's fine-tune that compensation so that it's exactly what we need it to be or as close to the original scene as possible. I'm working inside of a progress document here called Gross compensation.psd and it's found inside the 04_cast_lighting folder. Let's go ahead and once again double click on that Curves adjustment layer and I'm going to switch over to the B channel, that's where we are going to start things off because yellow is really where the action is happening, mostly we have got to fine tune the yellow information here because we are dealing with an incandescent light source, light coming in from above so it's very warm and we have got these little bits of purple going on, that's the color that's really informing the scene the most.

Fine-tuning a color cast compensation

All right, now that we have applied our gross color cast compensation, let's fine-tune that compensation so that it's exactly what we need it to be or as close to the original scene as possible. I'm working inside of a progress document here called Gross compensation.psd and it's found inside the 04_cast_lighting folder. Let's go ahead and once again double click on that Curves adjustment layer and I'm going to switch over to the B channel, that's where we are going to start things off because yellow is really where the action is happening, mostly we have got to fine tune the yellow information here because we are dealing with an incandescent light source, light coming in from above so it's very warm and we have got these little bits of purple going on, that's the color that's really informing the scene the most.

So, it needs a little bit of additional work. So what I'm going to do is I'm just going to click right there in the center of the graph that is the horizontal center of the graph so that we get an Input, we are lifting an Input value of 0 and it's setting the Output to 22 and what I want to do is I just want to elevate the yellows inside this area right here, notice if I drag inside this column, you can see the little bouncing balls right there on that point. In fact if I wanted to I will Backspace, what I could have done is just Ctrl+Click or Cmd+Click in the center of that column to lift that point and then I'm going to elevate it as they say, I'm going to make sure the Input value is 0 and I'm going to elevate the Output value to about 24.

Notice that, that gives us a little bit of additional yellow action. It pops the yellows inside of these columns. So, part of this is making this look like a deliberate modification, so it's not just kind of flaccid yellow, I really want it to pop, I want it to be fairly vivid, even though this is a neutral surface. And so we are making our environment very clear here and our lighting as well. Now I'm going to Ctrl+Tab to that white point value there and I'm going to press the right arrow key a couple of times in order to move that Input value to 59. So, we are mapping 59 to 127 at this point and what we are doing is, we are dragging the highlights down into the right this time in order to compensate for the amount of yellow that we have added by making the highlights just ever so slightly more cobalt and that's going to help with things like this guy's white jersey.

It's going to bring that back into neutrality and then I will Ctrl+Tab to the black point and just check it out and actually when I look at the shadows inside of this image I'm thinking they are pretty much okay, they are neither too yellow or too blue/cobalt there, looking fairly neutral where the B axes is concerned. So, let's get out of the B axis we are done. Let's go over to A and see if we might do a couple of things with that. I'm once again going to lock down the middle point right here and so I'm just clicking right there at that horizontal middle point, it's a vertical line of course but its in the middle horizontally and that sets the Input level to 0 and I'm then going to take the Output level up by pressing the up arrow key a couple of times in order to bring out that carpet, notice it's looking a little sort of low saturation at this point and if we press the up arrow key a couple of times, its going to pop a little bit better and then I'm going to Ctrl+Tab up to the upper right hand point.

Now, we can start moving this guy around, this white point, I can start moving it around in order to adjust for the crimson inside of the scene because it feels like the scene is getting a little green. So, I can bring back some of the crimson color, some of the lavender by dragging this point over to the right and this actually looks pretty darn good. Now, if you are feeling like your scene is still little too green which you might, you could Ctrl+Shift+Tab back to the middle point there. On my screen it looks a little bit too green inside of this area, on a properly calibrated screen it should look good, I'm working on this PC screen that's wandering just a little bit but it should look pretty good on your screen if it's calibrated, but you never know some of these decisions are subjective as well.

If you want to defeat some of the green inside the columns you would raise this center value up and that's going to make the columns more and more crimson and so it's going to defeat that turquoise. Now, I'm going to send that back down to -7 that's what I wanted and then I'm going to Shift+Ctrl+Tab to the first point here, I think we could still do better where the carpet is concerned and we are emphasizing the greens inside the shadow detail a little too much like these banisters for example. So, I'm going to press Shift+Right Arrow, actually a couple of times until I get the Input value to -33.

So I'm going to fool around with the right and left arrow keys until I get that value to -33, which is outputting the -128 and then I think we have some fairly balanced colors going on. The only thing that worries me a little bit is this guy's jacket, this orange jacket. It's just so hot by comparison to everything else in the scene. We have other little orange items that are very hot and this little yellow cap as well. But this guy is such a prominent part of the scene; he's right dead center. So I'm going to Ctrl+Click on him, Cmd+Click in the Mac in order to lift him. There is his point right, that's the point I got for Ctrl or Cmd+Clicking and then I'm just going to press the down arrow key a couple of times in order to reduce that orange slightly and you will see the orange reduce on the fly every time you press the down arrow key, it's very, very sensitive, that's it, looks pretty good to me.

I'm going to click OK in order to accept that modification. This is what the scene looked like before we fine tuned it, so not terribly different but enough different that this is certainly better, definitely warms up the scene and just to give you a sense of what he had before this is our terrible original color cast in bad contrast and everything and this is the much improved version of the scene so far. We still have a few items to take care of like this yellowness back here in the highlights and this weird purplish, lavender stuff, that's going on inside the column.

We will begin to address those issues in the next exercise.

Show transcript

This video is part of

Image for Photoshop CS3 Mastering Lab Color
Photoshop CS3 Mastering Lab Color

70 video lessons · 10735 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 23m 32s
    1. Your doorway to better color
      2m 18s
    2. Lab and the untreated JPEG image
      6m 15s
    3. Lab and Camera Raw with a JPEG file
      6m 5s
    4. Lab and Camera Raw with a raw photograph
      8m 54s
  2. 1h 6m
    1. Don't fear the Lab mode
      1m 5s
    2. Why color is 3D
      4m 22s
    3. Device-dependant RGB and CMYK
      5m 15s
    4. Device-dependant CIELAB D50
      5m 33s
    5. Color by the numbers (mixing Lab values)
      5m 35s
    6. The Hue/Saturation color wheel
      4m 0s
    7. The slightly skewed Lab color wheel
      9m 56s
    8. Lab's wide world of "imaginary colors"
      6m 41s
    9. Examining RGB and CMYK channels
      6m 37s
    10. The strange (but powerful) Lab channels
      6m 47s
    11. How RGB and CMYK channels blend
      6m 45s
    12. How channels blend in Lab
      3m 54s
  3. 1h 17m
    1. Bad becomes great, great becomes better
      1m 0s
    2. Cheapening a perfectly good image in RGB
      5m 3s
    3. Making a great image even better in Lab
      8m 9s
    4. Saving a Lab image file
      2m 13s
    5. Favoring yellow to balance skin tones
      6m 12s
    6. Dropping out the blues
      5m 34s
    7. Correcting a very bad image in RGB
      7m 20s
    8. Sharpening luminance independently of color
      5m 22s
    9. Correcting a very bad image in Lab
      7m 34s
    10. Sharpening the Lightness channel
      5m 47s
    11. Finessing the Lightness channel with Curves
      8m 27s
    12. Applying Curves to the a and b channels
      7m 52s
    13. Sharpening for effect, blurring away noise
      7m 14s
  4. 57m 23s
    1. The convergence of all things nondestructive
      1m 26s
    2. Correcting saturation and color cast
      8m 5s
    3. Fading the oranges and reds
      4m 32s
    4. The secret power of Brightness/Contrast in Lab
      5m 5s
    5. Smart Objects and sharpening
      3m 33s
    6. Fixing chromatic aberrations in RGB
      8m 51s
    7. Adding clarity with High Pass
      3m 13s
    8. Reducing color noise with Median
      4m 35s
    9. Protecting the sky with a density mask
      5m 48s
    10. Nondestructive cropping with Canvas Size
      6m 23s
    11. Convert to RGB, flatten, and save
      5m 52s
  5. 1h 34m
    1. Images with bigger issues
      1m 6s
    2. Fixing a color cast
      6m 14s
    3. Exaggerating a color cast
      5m 23s
    4. Quantifying and correcting a color cast
      8m 11s
    5. Sharpening an image with the Emboss command
      4m 38s
    6. Introducing a more complicated color cast
      3m 43s
    7. Drawing a custom contrast curve
      7m 21s
    8. Performing a gross color cast compensation
      3m 49s
    9. Fine-tuning a color cast compensation
      5m 52s
    10. Restoring neutral highlights
      6m 8s
    11. Masking away aberrant hues
      5m 16s
    12. Sharpen, save, convert to RGB, and crop
      6m 18s
    13. Applying a Shadows/Highlights Smart Filter
      5m 1s
    14. Tweaking Shadows/Highlights in Lab
      5m 25s
    15. Rendering Shadows/Highlights in Lab
      7m 57s
    16. Correcting color cast and contrast
      6m 16s
    17. Completing a low-frequency portrait with High Pass
      5m 22s
  6. 1h 5m
    1. Changing some colors, leaving others as is
      1m 7s
    2. Rotating hues in RGB with Hue/Saturation
      5m 0s
    3. Modifying colors in Lab with Curves
      5m 47s
    4. Blending colors with Underlying Layer
      6m 8s
    5. Changing colors in wardrobe shots
      6m 1s
    6. Blending the Red and b channels
      8m 5s
    7. Developing a base mask
      8m 8s
    8. Colorizing an isolated area
      7m 33s
    9. Revealing complementary highlights
      3m 18s
    10. Repairing strangely colored shadows
      5m 37s
    11. Tanning and deepening skin tones
      4m 13s
    12. Exposing bright eyes and teeth
      4m 39s
  7. 1m 8s
    1. See ya
      1m 8s

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