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In this movie I'd like to address scanning positive film. Now just like any other image we're going to treat our positive film images just as if it were a reflective piece of art, but we need to know that it's film, so light is going to be passed through it rather than bounce off of it. So the first thing we're going to do is do our double corner shot to get as close and then we'll magnify the image and then we can fine-tune our frame. Here we go. I'm not going to go through all the details of the scan steps that we've already done in this chapter, I would refer you to the previous scan project particularly the first two in this chapter to really dig in on the scan tools.
But let's go ahead and do a correction to this image and let's start with the Automatic Correction tool as we've used before and then take another look at our image and see if there is anything we need to fine-tune about this. Let's go to our Histogram and see what it's done, it's tucked the highlight up underneath there and the shadow, nice, all right. And underneath the Gradation tool, it's given us a little bit of brightness, very nice. The key thing in this image of course is the skin tone. So let's go take a look at that skin tone just to make sure that it's said okay and if we need to do some adjustment we will. I'm going to place a sampler point on her skin and then using our Densitometer, let's go ahead and float that so we can just have it right next to the image.
We're going to take a look at that skin, because that's really the key portion of this image. So hold down my Shift key and place a sampler point right on her skin and let's look at these values 191, 162, 166. And if you remember from our previous Portrait Scan, we said the key thing here is to look at the red, green and blue ratio, and the key concept is red should be greater than green should be greater than blue. And notice here that red is greater than green, we're okay there, but look at the blue was actually greater than the green.
When you look at this image just overall you can see it's kind of got this blue color cast to it, doesn't it? Well this just quantifies it, no question about it. When we go over here and we look at our separate red, green and blue histograms we see how high the blue is, the blue is tucked up right underneath here and it really should be quite a bit lower than the green and the green should be little bit lower than the red, so we've got some work to do here. You could put a couple of color sampler points on here if you want to do it twice just to see if you've got consistency, and sure enough, we've got more blue than we absolutely need. So what are we going to do? Well, the easy correction here is to go to the Gradation tool and we know that the separation is about 25 points a separation there. So I think we'll start with the green channel and let's just pull that green channel down just a little bit. I'm going to take the midtone of the green channel and we're just going to pull that down and we're going to monitor our RGB value there.
We're going to take this down to about 152, so we've got a good 30 points of separation there. And then we're going to go to the blue channel, we're going to monitor that blue value until we've got about 15 points of separation there. Now Bonnie is starting to look like she's got some decent skin tone. Do you see how by adjusting the red, the green, the blue ratio I move the green down a little bit just to give this a little bit more room between the red and the green. The reason why I did that was, if we take a look at our Histogram tool I could see here that we have quite a bit of green, particularly in the highlight area, so I assume we have some in the midtone as well.
So, I move the green down to create a little bit more separation between the green and the red. And then really move the blue channel down to create about half the separation that we had between the green and the red, between the green and the blue. So now clearly we've got red. It is greater than green is greater than blue and no more blue-green skin. She's got a nice red healthy pink glow to her. Again we're just treating this like any other image we look at it and say what's the key part to this image, and then we go pay attention to it. We allowed our Automatic Correction tools to set our highlights and shadow which was fine, and then we focused on the skin tone and fine-tuned with the manual correction.
So we can just move right on to Unsharp Mask, and we're just going to go ahead and apply most of the basics that we've got, maybe fine-tune just a little bit. We'll do 100% or 1, but because we've got some skin tones in there we're just going to raise this to about 2 to protect those skin tone areas. And notice we've got a black dress on, so I want to go to my Expert dialog box here and I'm going to make sure my Sharpen to 100% is turned off, so we have to take this down to 90 and this is standard setting for me, so that we don't end up with any sharpening related noise or green that's put into the black areas.
As always I turn on the Soft shadows so that the shadow areas don't end up with any grain in them. There we go. And then let's just go right up to our Scan dimensions and we'll call this Bonnie, and of course, this is an RGB image, and then we're going to set this at 300 pixels per inch. Now typically with the piece of film, either negative or positive, generally the film is very small and would typically use it at larger dimension. So notice that the original image size here is 2.22x2.29, and we're going to take that up to about 5x5, this is a square piece of film, so we can just put 5 in here.
And what's going to happen is that SilverFast is going to do all the hard math for us, and it's going to do the math to convert this from 2x2 to 5x5 and give us a final resulting image at 300 pixels per inch. So there we go. We're done, we're all ready to scan, we can put-away our Densitometer and just go right to the Scan button, knowing that Bonnie is going to be a nice healthy rosy pink on her skin tones. And once the scan is completed we can just click on our Open image file and then SilverFast will tell, in this case Photoshop, to go ahead and open that image right inside of Photoshop and there is this smiling Bonnie with the nice skin tones, when she started off being awfully blue-green.
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