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LAB Color

So I got back to if you want. If you want to follow along, it's in the black Mike section conversion techniques and its conversion on the skull five dot DMG. Okay, so if we open this up in camera raw, I'm gonna add a little bit of contrast on coming very flat emission list. Let's punch it up a little bit before we start, cause we're gonna be working with color. So I want to kind of bring up the colors, but we use a vibrant slider there of increase the contrast. We've got a nice distribution of tones. We might come back and change it. I'm not gonna happen is a smart jokes that's not gonna work like coming. So we might still talk about, but let's just open up the image. New. So here we got the the original image. Quite punchy colors, some good contrast in terms of color on, we're gonna switch to working lab color mode now the way we do this is image menu mode and you'll see that we're in RGB color. Everything we've done today so far has been in the RGB color spice. What we're gonna do is...

switch to lab color. So all we do is image mode, the lamp color and initially, nothing. It doesn't look any different on we're just working in a different color spice. But if we create a curves adjustment, you'll see that some of our adjustments in golden name we can't use the Channel Mixer. I wish for reasons. I'll explain that while I can't use a black and white all, we can't use exposure. We can't use vibrance, and we can't use selective color to show you why we can't use the Channel Mixer. Let's take a look at the channel. So if you remember in RGB on the image is made up of three channels. The red, green, blue. If we look at it and color, they're all kind of the same ones. Red ones, green ones blue. But they all look pretty much like the image we go to the channels for lab on. Let's put these back into color. This will give us a better idea, so preferences into face show chills and color. What we find is we'll take a look at the lightness gentle first, so the Lightness channel is the channel within left color that carries the brightness data. As it says, It's a light units lightness. So it's the luminosity channel. The A channel was quite weird. So what we got there and a gray? Yep. So what's it? What's it telling us to think? What does the HLD soaking a beach? There's the beach. What do you got there? I get great and primarily cover Yellowish. Yeah, I was blue in some gray. Okay. On in this channel, we've got kind of green and magenta and great, right? So what I think is telling it, Think about the gray area. There's a gray area down here on a gray area down here to the great would be the white. Ultimately great would be the weight. No White. Why don't you mean what we bet? Where signing it? No color. The neutral. Yeah. So if we look at those channels again on tonight's ones off, you're doing the bottom here. There's no color kind of up here. There's no color for six B channel. No, kind of Here. Come up here. When we go back to the company image, those there is no color. It's a kind of a weird thing about lab. Is this one channel that carries the luminosity data on to carry the color to kind of on its own. There's no detail that there's just color, but it's the same for the beach. There we go. Be channel carries the yellow blue data on the A channel carries the cyan Magenta. Uh oh, yeah. No, I'm not sorry. Magenta Brain death green and magenta. Okay, Right. So what are the implications of that when you're working on a lab color crack curve right when we've adjusted a curving RGB? What happens to the saturation when we alter the RGB can increase the contrast? What do we do to saturation? Increased? Okay, look what happens when we do it in the lab. Did we get an increasing saturation? No. And that's because the lightness channel just carries brightness data. It doesn't carry any color data. Yeah, So that's the first significant difference that when you work with the curve contrast in lab column. Oh, you know, affecting color. Just altering the brightness. Yeah, kind of makes sense. Okay, let's switch the individual channels. Right. How are these gonna work? I guess about what might happen. So I was what? That was magenta green. Yeah, that's the I Channel. So what's his acre gonna do? I'm gonna assume it's mean it's gonna be the inverse. So it's going to the closer going to de saturate. We can do it that way. We'll come back for a second. What kind of it's kind of the operate? Kind of like the individual color curves and RGB We're kind of push it this way. We're going towards kind of a gente on we go this way. We're going towards kind of saying on blue so we could say magenta and green Um, yeah, okay. It's not really one way of working that curve. Let's switch the beak s what's gonna happen to be care the blue Exactly. So So yeah, we kind of push it towards yellow. We can push it towards blue right now. You'll notice when we worked with RGB curves that we look at the numbers for a minute when we work in the wine Black points the black 0. on the 1. Now, this time it kind of works slightly differently. Let's get that back into the middle. A middle point is a value of Yeah. So it's coming for a color kervin lamp color. Kind of the middle point becomes very significant For reasons I'll explain in a minute. Want to You can also do here is you can rotate the color curves. So if I rotate this curve clockwise so I'm gonna rotate it about the central point. So I kind of bring it down here and I bring this up. What if I don't? What's the effect on the image? Let's just turn off the luminosity cap. So we're not disable it. So what have I done with this curve? Nothing, because it was a beaker were changed again. So by rotating clockwise and the B curve is kind of the yellows and blues what if we don't? Well, what would be yellows to the highlights believed Shadows? No. Opposite. Coming. Yeah, let's take it all the wife flats. So what? We don't now by flattening the beak of what's happening to the yellows in the blues. Gone. Yeah, on the easy way of demonstrating that is, if we do exactly the same with the acres, don't point there on. We can do that to reflect on the curves the more you rotate in a clockwise direction more you de saturate colors. I'm for that curve. So for de saturating kind of the red and the green components or have you want to think about it? You can do the like of on Be curved blues and yellows de censure tonight So what's gonna happen? Forget the other way But I was clockwise What's gonna happen? Forget came to clockwise Mr On the Ike So we d separated by going clockwise? Absolutely. So I go this way and keep the midpoint fairly constant. Well, you can see I'm saturated colors. See how we could make the red pop by rotating occurred in that direction. Yeah. Now, if you really want to, this is This is this is kind of a tip or a trick if you will not trick, but a tip if you really want to saturate them, is using lab color mode is a really good we're doing it on is a great book on love color mode on by Dan Margulis I'm called the Canyon Condone room Um and he's basically got lots and lots of shots of Kenyans on what you get with canyons is kind of this subtle gradation of color, so different layers of brown and yellow and orange in things like this I'm on. What it demonstrates is that when you're increasing the saturation love color mode, you get really good separation between the different colors so superficially you can use the hue saturation toe to bump up saturation. But where you get between different areas kind of color bleed between the two of you have seen that if you ever saturated image colors kind of go wrong at the border. Since it's like this, you get much cleaner separation in light colored to come. And that's one thing you can do like color mode on. You can rotate the curves counter clockwise to increase the saturation. Okay, right so far, kind of doing stuff that would normally do but just doing it in different white. So what we've demonstrated is that the curve operate slightly differently. What I want to show you now is to kind of particularly interesting ways and using. We talked to bounce toning images earlier, but we didn't talk about color correction. Now, if we're going to use an RGB care for color, correction, weaken do exactly the same as we did early. Everything. Just move the currents of rooms until we get a more correct color. But it's really nice, precise way of doing that in the left column. Oh, you notice we still got the little hand here. Yeah, right. If I hover over this image, what's it telling me this time? This is kind of a bit more difficult working with curves. The ordinary curve is quite an orbital toe. Gonna hang off the lamp is a little bit stranger. So what does the acres do? What's the anchor of responsible for kind of the Yeah. So is your going probably farther towards the right, my guess is going to be, and you start moving up or down. It will be fine if we're we're here. And we got a point in the top afternoon here. We got pointing in here. If I'm gonna neutral, remember me saying that central point in the lab calves is quite important. So you see, for neutral, you're kind of in the middle, so the more saturated you get towards the greens, the more you go down the a curve towards the bottom left. Redd's being the opposite. You kind of you going up towards the top, right? So if we decided we want to color correct this image, that's assuming again. Let's assume we want to color correct the front of this sign on it wasn't white would assume that it Woz and we wanted to white. So that's just kind of zooming apps from King. What we can see is, if we look at this is kind of going in a particular direction with this curve. So when we do is I'm just gonna click somewhere here, so the neutral point is in the middle. So if I noticed this point often was gonna use the arrow King on, you can see that the output value is changing on we knew at a value of zero. So what I've done is I've color corrected the anchor. You might not believe it's It doesn't look too good at this stage. But let's switch to the beaker. We'll click in the same place again. So we're gonna need to go in what direction this time to color. Correct it down. Let's take that point damn to get down to zero and we can't quite get excellent. Besides, the cabin come to my school, Xuemei. Now what we've done is color corrected on the basis of this bit here. Now it was kind of too extreme Correction. The rest image now looks odd, but we've selected a specific area of the image and with used the I am beakers to very, very accurately color Correct that point. It kind of makes sense getting that. Yeah, OK, just delete those points will come back to that. We do that again in a minute. Get rid of those ones. But this is This is where life color gets really interesting, right? If we want to change, say we want to change the color off the red to something else How would we do that in RGB There any tools you can use to target a specific color and changes that work? Well, I should add here you can use hue saturation. Yeah, so I just switched back a minute. Teoh rgb color and discard that evidently. No, it's gotta hue saturation. We'll go to reds on what changed the hue. It's not too bad in this instance, but you'll notice other bits and kind of areas down here, changing as well on getting some kind of color bleeding the edge there that isn't looking too great. So you can do it with you saturation. But it's much cleaner to due in lab kind of show you how to do that. Let's go back to where we were. If I go to the acres on again, if you get a little hand on, we pick on these particular red bits here. That's the value of red on this curve. Yeah. So I moved out of bounds. You see how I can change selling the green, for example? Yeah. Now, I don't quite do it likes. That's just the entire image we're going to do is put that point there. And then you say about the midpoint, something locked the midpoint. And then I'm gonna put in just a couple of a couple of points there. Lock the rest of that curve so this bottle of it isn't gonna move. But this topic is so if we turn this on a north, it is making changes down here. But color shift here around the edges is a lot cleaner in lab waas in Don't be so they claim will come. We'll take another look at the claim because the claim was doing color spice. So you end up with extremely weird curves because they don't look like the short, and they certainly don't want s shapes. But what you're doing here is you're manipulating color values, not brightness values. So kind of you can do weird things with particular colors can all you need to do if you want change. The Pacific color is locked down the rest of Kurtz. It doesn't move. If I take those points else and delete care of altogether, never mind. Let's get back on. That's the trouble if you take those points and we drank the whole curve. And, most importantly, kind of the whole image is going wrong on to kind of we need to bring that back. Like I know it's quite nice, actually. But what we were doing was ensuring this section of the line states straight. And to do that, we need those extra control points. So that was a neutral kind of go to the middle. I want to just de saturate the Reds a little bit. I put it down as soon as I start going below this line, it switches kind of color So we do the same with the yellows, went beaker to say We want to change the yellow component of this green bit. It's kind of up there. So again we locked bands line here, bring this down kind of end up blue gate. What is the optimal number of control points we should lock used to lock in the remainder of that line. Now, kind of you kind of want to take a reason a strike unless you want to affect those colors as well. You know, this is kind of looking fairly horrible in excellence. Toledo's Ah, it's a very clean way of altering colors, the hue saturation till superficially looks OK, but you will get this color bleed. And you do get kind of weird, weird artifacts as well in terms of changing color. This West. Yeah, because let's switch back to our picture of the claim Now if you're following along online. This was in the fall of PST is from slideshow on a his claim, and you'll notice this is splitting in terms of different currents here. We didn't look at these curves yesterday. We kind of just discussed the concept of changing colors. Uh, So let's take a look new. There's an elk Earth, so that's a lightness curve. And there's another lightness curve. It's a kind of reviews two curves here to have contrast on. At this stage, we haven't effected saturation. The curve doesn't appear to be a great deal about the beakers, with more effective. There you go. Right. So what's The speaker is gonna look like? Any idea? Did you ever look? Yeah. Yes. I'm not sure I couldn't bring its entirety. Every guy? Oh, yeah, kind of weird. Lets reset it. Let's talk through what? I curved us that. So there's no effect at all if I spin this so it's top left to bottom. Right? What's gonna happen? This is the beaker. Do you mean what happened when we took the RG beak on Went from that there. And what's gonna happen if we invert? What? Yellowing? Blue? Yeah, right. So let's do that. I got a central point and so I can looking down. So there is what we get If we invert yellow and blue, you turn it off and kind of see there the yellows going blue and the blues air going kind of this muddy, muddy brand color. Like I said, that doesn't look right. Let's go back to the beginning. Take me back home. If I bring this one dame, let's Did you give the first? Let's do this one. This was kind of switching the blues. This is the blues two yellows side and this is the Yellowstone new sign. Okay, that's kind of what we've got. What happens is I go this way. What about increasing? No, Great. No, no, such. It's kind of going more blue, but it's also rotating in a clockwise direction, which on actually, no, it's kind of going into clockwise. Yeah, although no, it's not. It is increasing saturation from dragging across the bottom, so the saturation the blues is increasing. So what I've done here is I kind of flipped the blooms. Let's just go back on Good. Max is there, and that's just fine. Start again was better. So what I've done is I inverted the blues on. I've kind of increased the saturation for I've inverted the year like Silas. One get confused. The yellows switched, not the blues. So we switched the yellows to balloon left the blue line. Yeah, on the any curve didn't make a great difference on because I only made a slight change here, so I kind of decreases situation a little bit. So I thought it going the other way. What's what's that end the acre doing? I go that way. The saturation of the Reds increases. It goes that way, kind of D century. It's the Reds. If you go further, what kind of stopped flipping and room?