Commercial Color Grading | Using Color To Match A Family of Images Free Tutorial Excerpt PRO EDU

October 4, 2019 0 By Peter Engel

(upbeat music) – I’m ready to go in here and
start making some changes. Once again, I’m gonna
follow the Adobe camera raw smart filter workflow,
and see if I can really effect that overall
balanced change here first before doing anything in Photoshop. Once again, let’s do our
macro to micro changes, just a small change in
the temperature I think is fine overall, just
to push everything in that direction of warmth. I’m not seeing any major
differences in saturation here, contrast looks consistent, once again, these have already been retouched, but I think overall we’re gonna drop the exposure a bit. Because in these images,
the color’s really dependent on the exposure, it’s gonna be different. You could have the same
exact palette in these two images, if they have
dramatically different exposures, that color’s gonna look
quite a bit different. Now just because I’m dropping
the exposure image wide doesn’t mean I can’t make a
bit of a targeted adjustment in order to bring some
focus back to the center of the image. So I’m using the adjustment brush, which I actually wanna zero out. Click reset local correction settings, that’s gonna zero it out,
and I just wanna crank the exposure back up in here. Now in Photoshop, moves like
this are counterproductive, it’s what I usually refer
to as cross curving, but in camera raw, we
have so much information to work with and it’s really a light touch that we’re able to make
opposing adjustments and not destroy the image. And I’m gonna brighten
it up just a bit more. Hit enter to exit, and H
to return to the hand tool, and all of our controls for camera raw. Next I’m gonna follow
the steps and move into split toning, now remember
that those shadows were all warm, they were in the red zone. Now this is pretty
dramatic, but it helps me to see, once I use the balance slider, how I’m compressing the tonal range that the split tone is applied to, and then I can bring that back down to a reasonable level. I’m not even gonna mess
with the highlights, I’m gonna keep those where they are. Now I’m gonna move into
my HSL adjustments, the sort of wild card hue in this image looks to be the blues, I don’t really see any blues in our targets,
so eliminating those will get us a little bit
closer to a good family. Maybe I can shift these
blues into a warmer hue. They’re going purple, and
it doesn’t really look like it’s able to push them that far around the color wheel. So in that case, I’m just gonna see if I can de saturate those. I think that’s an improvement right there, it gets ’em out of the way. I’m gonna take a look at the yellows and see if I can push
those a little bit warmer because here they’re
still a little bit pale. I don’t know if it’s gonna
be able to grab them or not, but yeah, I like that move definitely. You can most see that
move in the bottles here. We’ve got some greens in
here that are close enough to these two very different
greens to talk to each other. I’m gonna click OK. Do a little before and after. That’s a pretty dramatic quick change just using ACR. This is pretty close with minimal effort, but now that I’m seeing ’em side by side I know I wanna make a couple more tweaks. I’m gonna go back into camera raw, and I think I can just
open up this bottle a bit with a couple more targeted adjustments. Now I kind of broke my rules of working in a targeted way in
the raw, but that’s fine because these targeted adjustments are also completely editable forever. We can delete them if we need to, and that really heroes the bottle out. Okay, so I think I might dial that back just a little bit, and it’s useful too to see how I can go in there and edit those targeted adjustments that I made. So I’m gonna peel that
back just a little bit, runnin’ a little hot. So that’s a pretty clean grade on an already graded image. You see how quickly that works, how easily I’m able to
make those adjustments. We started with an image
that was our target and were able to extract
all that information about the color, some
pretty critical information, about what color the darks were, and then through comparing
the two color wheels with that little screen grab
overlay trick I showed you, that is another tool in
the toolbox to help you compare the two color
situations that you’re seeing. That’s a great look, it’s something that I have to deal with all the time. I’m having to pair two images
together to family them. Clients are constantly asking me to create similarities between two different images, for whatever use they need. So I was able to use
our new Color CC tricks in order to analyze the color
that’s in my target image, I’m able to use really quick
methods with camera raw in order to effect the
change, and not destroy any information in the image. (upbeat music)