My name's Drew Counselman and I am your host for advanced color correction in Photoshop with Ben Willmore. I hope you've seen a Ben Willmore course before you're in for a real treat and we're lucky to have him back her on the creative live stage. Would you help me welcome Ben Willmore. (applause)
Well cool we're back for color correction and so we're gonna start off in color correction taking about some essential concepts. Because what I don't wanna do is just show you some techniques that you don't understand and just throw 'em at you. Instead I'd rather have it so you understand color correction because I find if you do then you're not limited to what I teach you. Instead you can adapt techniques to your needs, and also if you read about other people's techniques you can understand 'em more and compare them to what you already know. So, first let's just think about, when it comes to color correction why the heck do we need to color correct things? So when I think of color correctio...
n I think of an image that has a color cast, and I think of that as something that is a color contaminating most of the image. Now that usually means the image looks too blue or too yellow or too orange, whatever it happens to be. And in your camera you have a setting called white balance and white balance is designed to compensate for the color of light that is being used in a scene. And if the white balance setting of your camera isn't picking up the color of the light correctly it can easily be fooled. If you have a huge blue wall in your scene and it's filling the frame of your camera well that's all your camera can see is this big blob of blue and it doesn't have a very good idea of what color of light was falling on that wall. Because what it's gonna try to do is when it sets its white balance setting in the camera it's gonna try to make everything look as if it was shot under white light. But if you have a light bulb at home it might be a Tungsten incandescent light bulb it might be fluorescent or something like that, and those don't usually put out white light. You've seen pictures you take at home with just a lamp sitting there it looks like yellowish orange light coming out, doesn't it? And so your camera's gonna try to compensate for that kinda stuff but when it messes up we have a color cast. The other reason we might get a color cast is you have a photo that's old and over time it's faded. And the various colors that make up the image fade at different rates over time and so we end up with a messed up looking image. Another thing that we're gonna have issues with is if you have mixed light sources. In this room where we're shooting I can see a mixed light source there's a light on the wall to my right which I don't know if anybody can see on camera or not but it's behind Drew. And the kind of light bulbs that are there are different than the lights that are above us. You can just see it by glancing at em you can tell those are much warmer, more yellow. So if we ever have mixed light sources in a scene we're gonna have to do some extra work. Because we're gonna have to selectively correct for things. And we'll talk about that. Then the other thing is when we scan things, if you ever have a flatbed scanner it doesn't mean that that scanner is gonna stay calibrated over time and it can shift the colors of things. So we're gonna look at some essential concepts of what can really help us figure out how color correction works and then we'll look at a bunch of different ideas of how we can apply that.
Good class as an add-on after taking Ben's Advanaced PS Class 2 - very worth the time. Especially lesson 5, makes the entire class very worthwhile. His technique works SO MUCH BETTER than Match Color under Image Adjustment menu.