Selective Color Adjustments
I've added atmospheric stuff, we've added things and stuff, it's looking not too shabby, I am down to start playing with color. So now I'm gonna go, let's do, I like selective color. It's kinda fun. I'm totally gonna jump into Nik Software, it's gonna happen, but I like to play in here a little bit first, anyways. Cool tones looking not too bad. The cool tones is gonna balance out this nicely. This is actually looking a lot better, just like that. Well then. (chuckles) Happy accident. I'm gonna turn this off first, and I'm gonna just quickly do a detail extraction. I'm gonna slide the color up. Detail extractor, there we go. That's way too much, looks HDR, it's awful. Totally gag worthy. But if we pull it up a little bit here, I know I'm gonna mask it out of the sky, like I did before, because I don't really want tons of detail in the sky, but I like what detail extraction does to my subject, bringing it in to even it out with some of the stuff that's in the scene. Knock up the contras...
t a little bit. Not too bad, gonna hit OK. Gonna create a layer mask. Turn the flow up. Let's get that out of that sky a little bit. I don't really want it there. Before, after. I'm okay with it being in the cloud a little bit, just not as hardcore as it was. I have that selective color adjustment, it's looking pretty awesome. Hey, that's what I call a happy accident. (chuckles) Even better, let's turn that down just a little bit. Nice. Neat. That happens sometimes. (chuckles) I've lost some of the atmospheric work that I put in there, so I'm going to take this atmosphere layer, I'm going to duplicate it. I'm gonna drag it to the top again, because I like what that does for that little bit of separation there. I'm gonna turn it down even further, but I don't want to lose that. This is really starting to come together quite nicely, I think it's working out not too bad. I'm gonna jump into color effects again. We're gonna load up. Go into cross balance. Go away, come on. Thank you. Now remember things that are closer up sometimes can be warmer than things that are further away. Day two, my brain is like, nope, we're done. (chuckles) But if we play with this here, and I up this up a tiny little bit, and then we remask out those clouds, so we copy that mask for the clouds and we have the cooler clouds in the background, this could look actually pretty rad. So I'm gonna go OK. And I have this mask here from detail extractor, so I am going to hold Alt, click and drag that up here. So now this is not good enough, and it's a little bit too strong. (vocalizing) First thing I'm gonna do is I'm gonna make the sky super blue, which it's too blue right now, in my opinion. Click that. We're looking not too shabby. Now I'm going to invert this and I'm going to take a really big brush at a lower flow, and I'm just gonna wiggle it across the whole screen. Maybe that will lighten it up a little bit. I'm basically bringing back in some of that tungsten tone into the shot. That's looking better. It's a little too much that time though. Lower flow. That's better. That's not too bad, it's looking all right. Let's play with this a little bit. I'm gonna go color balance. Once again, this is not the end-all, be-all of editing color. Totally just sliding around here, seeing what's kinda fun. I'm gonna add a little yellow to my highlights, shadows, let's add a little bit of cyan, little bit of blue. Too much, there we go. Alright, this is the Bob Ross-y part, I get it guys, it's cool, it's boring. (chuckles) I'm gonna open up a curves here. Gonna just flatten this a tiny little bit. So this is a little bit strong. Gonna bring that back a touch. I'm actually gonna see what happens if I put my curves there underneath this. Nah, not too much. The order of your adjustments makes a huge difference. Huge, huge, huge difference. Lots of things can make big changes there for sure. Last thing, I think I'm getting pretty close here. I'm gonna go hue/saturation, I'm gonna slide down my saturation a tiny little bit. Whoa. Go away. Give me my room back. (chuckles) So I'm gonna put the saturation back at zero. I'm gonna just lightly desaturate a little bit, and I'm going to leave the saturation a little bit stronger on her, because she is my subject, my little walking mermaid. So my mask, let's see here, little bit more. My mask is very, very, very subtle here. It's so, so, so small. Let's add just a little bit more. That's our mask right there. We can probably bring that down a little bit. Cool. Let's see how that looks on your screen. Not too shabby. What do you guys think so far? Anything that I missed? Like the hair strands, that was pretty awesome. (laughs) I see here, curves could maybe be a little bit less. Not too bad though, not too bad.