Camera Calibration Adjustment in LR
Lesson 12 from: Adobe Lightroom 5 Develop Module In-DepthJared Platt
Camera Calibration Adjustment in LR
Lesson 12 from: Adobe Lightroom 5 Develop Module In-DepthJared Platt
Lesson Info
12. Camera Calibration Adjustment in LR
Lessons
Adjustment Panels in LR Develop Module
12:30 2Basic Adjustments in LR Development Module
15:39 3Vibrance vs Saturation
06:41 4How to Use Drastic Tone Curves
08:14 5How to create a film look using tone curve in LR
04:25 6Black and White Mixing in LR
02:46 7Using Luminance, Saturation and Hue for better color in LR
03:22 8Split Toning Explanation
05:49Lesson Info
Camera Calibration Adjustment in LR
In the calibration I am going to describe to you what's going on in here but you're going to have to play with it because every single camera is different so it's it's best to see someone when you're playing with this but first off the process version if you're in two thousand twelve, that means you're like white room four five if you're in two thousand ten that's like room three if you're in two thousand three that's like room one and two I think something like that anyway but twelve is today and then you can go back in time if you want if I turn this to two thousand ten, it will stay out change the effects that's because it actually brought us back to the old style of exposure recovery phil like blacks it actually changes your light room panels inside of light room so you can go back in time if you want to and visit two thousand ten if you're really interested in doing that. The reason they keep it though is so that if you're working in a two thousand savior in light room three and t...
hen later on you brought that into light room four five they want same changes toe happen into light from five so you don't have to readjust it because you upgraded to light from five if you have great delight from five and you bring something in from two thousand you know from from white room to it will still be the same it will look exactly the same so you don't have to worry about that they kept that in there um so the other thing then you should know is bright below that is the profile so a profile is basically adobe is looking at the camera and deciding how does that camera specifically hander handle color and if I click on adobe standard here you can see that I've got adobe standard and then I've got camera faithful camera landscape neutral portrait those follow the same er things that air inside of your camera so when you go to your camera and you like are changing your camera styles your picture styles those what they're called and so if I shot my images in camera faithful then I would go here and click on camera faithful and that's more like what I saw on my screen when I was looking at the camera same thing's true you know if I go to but watch what happens if I do like landscape the colors just get really vibrant and I don't want that in a portrait so I'm better off going to you know, camera neutral or camera standard or portrait but I've never really liked the way the colors looking portrait so I usually stay in camera standard or cameron neutral because that kind of keeps everything kind of in a limited color palette and that's my preference but adobe standard is fairly accurate as well you just kind of got to get used to which one you like the most. The other thing to notice is below that and that's the shadow tent and then the different colors and you can change the hughes and you can change the saturation so this is not something you do on an image by image basis this is something you do camera by camera so what you should do is you should take there's two ways to deal with your camera and the chip number one is to buy a color checker passport x right and when you do that it comes with a plug in and you take a picture of the color checker and then you run it through the plug in and it will figure out what the color structure of your chip is and it will make profiles specifically for it and it will put those profiles right in here okay so that's the first way to do it that's that's the scientific way to do it the other way to do it is to take pictures of what you normally take pictures up and then if you always see too much magenta or too much science are mean too much green in your shadows then go in here to this area right here and just say ok, we're going to pull you know the magenta out or the or the green out of the shadows see how is changing the image and so you would determine what that amount is by yourself by your eye, and then that would be a standard that you could set. The other thing you can do is say that always my reds or two magenta or always my reds or too saturated, if that's the case, you would come in and say, ok, my red's need to come down, you know, x amount, and then you kind of want to standardize that and once you standardized it and this is really important were going to go to what's called a camera default once we've standardized our image, and this is listen closely because otherwise you're going to screw things up. So the first thing that you have to do is you have to take a picture that is normal that is properly exposed and bring it in tow light room. Once you've got it in there, you can then start adjusting on ly the things that are always wrong with the photos. Don't adjust the exposure or the color temperature or the tent. Nothing up here in the basics really should be changed unless you're always changing the black point if you always bring the black point down to negative five, then bring the black point down to negative five but on ly the things you've changed on every single image exactly the same every single time, when that would also include everything here in the camera calibration because that would be per camera, right? So if you always want your adobe, I mean your standard profile to be, say, camera neutral, and you always want to bring you know, out some of the magenta in the shadows and your hughes, your read he was always too vibrant, bring that down, and then once you've done everything that you always do, then you're going to go up to the developed menu and inside the development you you're going to click on set default settings once you click that you're going to get this little dialogue box, and that dialog box says that from here on out, everything that comes in from cannon five d mark three is going to have those things that you just changed is gonna be applied to it on the way in. So from here on out, you'll never have to turn the black down to negative five. It would just be there, and you'll never have to go into the camera default are the camera calibration and change it to camera neutral. It will always already be there, so it will save you a lot of post production time if you do that.
Class Materials
bonus material with purchase
Ratings and Reviews
Bill Frye
A very informative course dealing with an important module within Lightroom. Significantly improved my comfort with and capabilities in Lightroom.
a Creativelive Student
I am only half way thru and I love this class! I knew there was more to LIghtroom and what I could accomplish and Jared did that for me! Big thumbs up for me!
Raquel
Thoroughly enjoyed this package. I learned a lot and found everything Jared explained very useful to me. I'm new to using Lightroom. Thank you!