WWW.THESES.XLIBX.INFO
FREE ELECTRONIC LIBRARY - Theses, dissertations, documentation
 
<< HOME
CONTACTS



Pages:     | 1 |   ...   | 15 | 16 || 18 | 19 |   ...   | 103 |

«PROFESSIONAL USER GUIDE © 2007 Adobe Systems Incorporated. All rights reserved. Copyright Adobe® After Effects® CS3 User Guide for Windows® and ...»

-- [ Page 17 ] --

Temperature Sets the white balance to a custom color temperature. Decrease Temperature to correct a photo taken with a lower color temperature of light; the Camera Raw plug-in makes the image colors bluer to compensate for the lower color temperature (yellowish) of the ambient light. Conversely, increase Temperature to correct a photo taken with a higher color temperature of light; the image colors become warmer (yellowish) to compensate for the higher color temperature (bluish) of the ambient light.

Note: The range and units for the Temperature and Tint controls are different when you are adjusting a non-camera raw image, such as a TIFF or JPEG image. For instance, Camera Raw provides a true-temperature adjustment slider for raw files from 2,000 Kelvin to 50,000 Kelvin. For JPEG or TIFF files, Camera Raw attempts to approximate a different color temperature or white balance, but because the original value was already used to alter the pixel data in the file, Camera Raw does not provide the true Kelvin temperature scale. In these instances an approximate scale of -100 to 100 is used in place of the temperature scale.

–  –  –

Correcting the white balance A. Moving the Temperature slider to the right corrects a photo taken with a higher color temperature of light B. Moving the Temperature slider to the left corrects a photo taken with a lower color temperature of light C. Photo after color temperature adjustment

–  –  –

Adjust tone in Camera Raw You adjust the image tonal scale using the tone controls in the Basic tab.

When you click Auto at the top of the tone controls section of the Basic tab, Camera Raw analyzes the camera raw image and makes automatic adjustments to the tone controls (Exposure, Recovery, Fill Light, Blacks, Brightness, and Contrast).

You can also apply automatic settings separately for individual tone controls. To apply an automatic adjustment to an individual tone control, such as Exposure or Recovery, press Shift and double-click the slider. To return an individual tone control to its original value, double-click its slider.

When you adjust tone automatically, Camera Raw ignores any adjustments previously made in other tabs (such as fine-tuning of tone in the Curves tab). For this reason, you should usually apply automatic tone adjustments first— if at all—to get an initial approximation of the best settings for your image. If you are very careful during shooting and have deliberately shot with different exposures, you probably don’t want to undo that work by applying automatic tone adjustments. On the other hand, you can always try clicking Auto and then undo the adjustments if you don’t like them.

Previews in Adobe Bridge use the default image settings. If you want the default image settings to include automatic tone adjustments, select Apply Auto Tone Adjustments in the Default Image Settings section of the Camera Raw preferences.

Note: If you are comparing images based on their previews in Adobe Bridge, you may want to leave the Apply Auto Tone Adjustments preference deselected, which is the default. Otherwise, you’ll be comparing images that have already been adjusted.

As you make adjustments, keep an eye on the end points of the histogram, or use the shadow and highlight clipping previews.

While moving the Exposure, Recovery, or Blacks slider, hold down Alt (Windows) or Option (Mac OS) to preview where highlights or shadows are clipped. Move the slider until clipping begins, and then reverse the adjustment slightly. (For more information, see “Preview highlight and shadow clipping in Camera Raw” on page 95.)

• To manually adjust a tone control, drag the slider, type a number in the text box, or select the value in the text box and press the Up or Down Arrow key.

• To reset a value to its default, double-click the slider control.

Exposure Adjusts the overall image brightness, with a greater effect in the high values. Decrease Exposure to darken the image; increase Exposure to brighten the image. The values are in increments equivalent to f-stops. An adjustment of +1.50 is similar to widening the aperture 1-1/2 stops. Similarly, an adjustment of -1.50 is similar to reducing the aperture 1-1/2 stops. (Use Recovery to bring highlight values down.) Recovery Attempts to recover details from highlights. Camera Raw can reconstruct some details from areas in which one or two color channels are clipped to white.

Fill Light Attempts to recover details from shadows, without brightening blacks. Camera Raw can reconstruct some details from areas in which one or two color channels are clipped to black. Using Fill Light is similar to using the shadows portion of the Photoshop Shadow/Highlight filter or the After Effects Shadow/Highlight effect.

Blacks Specifies which input levels are mapped to black in the final image. Increasing Blacks expands the areas that are mapped to black. This sometimes creates the impression of increased contrast in the image. The greatest change is in the shadows, with much less change in the midtones and highlights. Using the Blacks slider is similar to using the black point slider for input levels when using the Photoshop Levels command or the After Effects Levels effect.

AFTER EFFECTS CS3 98 User Guide Brightness Adjusts the brightness or darkness of the image, much as the Exposure property does. However, instead of clipping the image in the highlights or shadows, Brightness compresses the highlights and expands the shadows when you move the slider to the right. Often, the best way to use this control is to set the overall tonal scale by first setting Exposure, Recovery, and Blacks; then set Brightness. Large Brightness adjustments can affect shadow or highlight clipping, so you may want to readjust the Exposure, Recovery, or Blacks property after adjusting Brightness.





Contrast Increases or decreases image contrast, mainly affecting midtones. When you increase contrast, the middleto-dark image areas become darker, and the middle-to-light image areas become lighter. Generally, you use the Contrast property to adjust the contrast of the midtones after setting the Exposure, Blacks, and Brightness values.

Fine-tune tone curves in Camera Raw Use tone curves to fine-tune images after you’ve made tone adjustments in the Basic tab.The tone curves represent changes made to the tonal scale of an image. The horizontal axis represents the original tone values of the image (input values), with black on the left and progressively lighter values toward the right. The vertical axis represents the changed tone values (output values), with black on the bottom and progressing to white at the top.

If a point on the curve moves up, the output is a lighter tone; if it moves down, the output is a darker tone. A straight, 45-degree line indicates no changes to the tone response curve: the original input values exactly match the output values.

Use the tone curve in the Parametric tab to adjust the values in specific tonal ranges in the image. The areas of the curve affected by the region properties (Highlights, Lights, Darks, or Shadows) depend on where you set the split controls at the bottom of the graph. The middle region properties (Darks and Lights) mostly affect the middle region of the curve. The Highlight and Shadows properties mostly affect the ends of the tonal range.

❖ To adjust tone curves, do any of the following:

• Drag the Highlights, Lights, Darks, or Shadows slider in the Parametric tab. You can expand or contract the curve regions that the sliders affect by dragging the region divider controls along the horizontal axis of the graph.

• Drag a point on the curve in the Point tab. As you drag the point, the Input and Output tonal values are displayed beneath the tone curve.

• Choose an option from the Curve menu in the Point tab. The setting you choose is reflected in the Point tab, but not in the settings in the Parametric tab. Medium Contrast is the default setting.

–  –  –

HSL / Grayscale controls in Camera Raw You can use the controls in the HSL / Grayscale tab to adjust individual color ranges. For example, if a red object looks too vivid and distracting, you can decrease the Reds values in the nested Saturation tab.

The following nested tabs contain controls for adjusting a color component for a specific color range:

Hue Changes the color. For example, you can change a blue sky (and all other blue objects) from cyan to purple.

Saturation Changes the color vividness or purity of the color. For instance, you can change a blue sky from gray to highly saturated blue.

Luminance Changes the brightness of the color range.

If you select Convert To Grayscale, you see only one nested tab:

Grayscale Mix Use controls in this tab to specify the contribution of each color range to the grayscale version of the image.

Tone a grayscale image in Camera Raw Use the controls in the Split Toning tab to color a grayscale image. You can add one color throughout the tonal range, such as a sepia appearance, or create a split tone result, in which a different color is applied to the shadows and the highlights. The extreme shadows and highlights remain black and white.

You can also apply special treatments, such as a cross-processed look, to a color image.

1 Select a grayscale image. (This can be an image that you converted to grayscale by selecting Convert To Grayscale in the HSL / Grayscale tab.) 2 In the Split Toning tab, adjust the Hue and Saturation properties for the highlights and shadows. Hue sets the color of the tone; Saturation sets the magnitude of the result.

3 Adjust the Balance control to balance the influence between the Highlight and Shadow controls. Positive values increase the influence of the Shadow controls; negative values increase the influence of the Highlight controls.

Adjust color rendering for your camera in Camera Raw For each camera model it supports, Camera Raw uses profiles to process raw images. The profiles are produced by photographing a color target under different white-balanced lighting conditions. When you set white balance, Camera Raw uses the profiles for your camera to extrapolate color information.

Sometimes colors rendered by the Camera Raw plug-in do not look as expected. The cause may be a difference between a camera’s profile and the profile in Camera Raw for that camera model. Alternatively, the photo may have been taken under nonstandard lighting conditions beyond the compensating range of the Camera Raw plug-in.

To render non-neutral colors differently, use the Hue and Saturation controls in the Calibrate tab to adjust the settings for the profile built into Camera Raw. You can also specify whether to use the profiles built into Camera Raw or a profile built into the file itself.

1 In the Calibrate tab, choose a profile from the Camera Profile menu.

Important: The options in the Camera Profile menu vary, depending on whether the file has a profile embedded and whether a newer version of the profile has become available in Camera Raw.

ACR 2.4, 3.0, or higher Higher version numbers represent newer and improved camera profiles for some cameras. If you only see a lower version number, such as 2.4, your camera’s profiles didn’t require updating. If multiple options are available, you may want to choose a lower version number for consistent behavior with legacy images.

AFTER EFFECTS CS3 100 User Guide Embedded Use the profile embedded in the current file. TIFF, JPEG, and DNG files can have embedded profiles.

2 Adjust the Shadow Tint property to remove a color cast in the shadows. Usually, decreasing Shadow Tint adds green to the shadow areas, and increasing Shadow Tint adds magenta.

3 Use the Hue and Saturation controls to adjust the red, green, and blue in the image. Look at the preview image as you make adjustments until the image looks correct to you. In general, adjust the hue first, and then adjust its saturation.

4 Adjustments made in the Calibrate tab affect the selected image in the Camera Raw dialog box. If you want to save the adjustments and make them the default image settings for the files from a specific camera, choose Save New Camera Raw Defaults from the Camera Raw Settings menu.

Note: To save settings as defaults for a specific camera (by serial number) or for a specific lighting condition (by ISO number), you can also modify the Default Image Settings preferences in the Camera Raw preferences. (See “Save, reset, and load Camera Raw settings” on page 104.) Compensate for chromatic aberration in Camera Raw Chromatic aberration is a common defect caused by the failure of the lens to focus different frequencies (colors) to the same spot. In one type of chromatic aberration, the image from each color of light is in focus, but each image is a slightly different size. This type of aberration is seen as a complementary color fringing in areas away from the center of the image. For example, you may see a red fringe on the side of an object toward the center of the image, and cyan fringe on the side of the object away from the center of the image.

Original image (top), and after fixing chromatic aberration (bottom)

Another type of chromatic artifact affects the edges of specular highlights, such as those found when light is reflected off of the surface of rippled water or edges of polished metal. This situation usually results in a purple fringe around each specular highlight. Similar-colored fringing can occur along edges between dark objects and very bright objects.

1 Zoom into an area near the corner of the preview image. For the best results, the area should contain very dark or black detail against a very light or white background. Look for the color fringing.

2 In the Lens Corrections tab, adjust any of these controls:

Fix Red/Cyan Fringe Adjusts the size of the red channel relative to the green channel. This compensates for red/cyan color fringing.

Fix Blue/Yellow Fringe Adjusts the size of the blue channel relative to the green channel. This compensates for blue/yellow color fringing.



Pages:     | 1 |   ...   | 15 | 16 || 18 | 19 |   ...   | 103 |


Similar works:

«RESPECTING CREATIVE WORK LESSON PLAN Copyrights and Wrongs Estimated time: 45 minutes Essential Question: How can I make responsible choices when I use other people’s creative work? Learning Overview and Objectives Overview: Students explore the legal and ethical dimensions of respecting creative work. First, they learn a basic foundation of legal principles and vocabulary related to copyright. They understand how such factors as the rules of copyright law, the values and intent of the...»

«Tilburg University International environmental law-making and diplomacy review 2014 Lewis, Melissa; Couzens, Ed; Honkonen, Tuula Publication date: Link to publication Citation for published version (APA): Lewis, M. (Ed.), Couzens, E., & Honkonen, T. (2015). International environmental law-making and diplomacy review 2014. Joensuu: University of Eastern Finland. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or...»

«NEW ISSUE — BOOK-ENTRY ONLY RATINGS: See “RATINGS” herein In the respective opinions of Bond Counsel to the City to be delivered upon the issuance of the Series 2012A-C Bonds, under existing law and assuming compliance by the City and County of Denver, Colorado (the “City”), with certain requirements of the Internal Revenue Code of 1986, as amended (the “Code”) that must be met subsequent to the issuance of the Series 2012A-C Bonds, with which the City has certified, represented...»

«IN THE GAUHATI HIGH COURT (HIGH COURT OF ASSAM, NAGALAND, MEGHALAYA, MANIPUR, TRIPURA, MIZORAM AND ARUNACHAL PRADESH) RSA No.1 of 2002 Harekrishna Dalai, Son of Late Prasanna Kr. Dalai, Dal Pukhuri, MouzaHojai, DistrictNagaon, Assam. On the death of the appellant, his legal heirs were impleaded as appellant Nos.1(a) to 1(i) vide order dated 16th September, 2010 passed by this Court. 1(a) Smti. Lakhirani Dev Nath (wife), (b) Khukan Ch. Nath (son), (c) Moni Bhusan Nath (son), (d) Bhupati Nath...»

«An Old-fashioned Girl Louisa May Alcott An Old-fashioned Girl 1 An Old-fashioned Girl Project Gutenberg's An Old-fashioned Girl, by Louisa May Alcott #5 in our series by Louisa May Alcott Copyright laws are changing all over the world, be sure to check the copyright laws for your country before posting these files!! Please take a look at the important information in this header. We encourage you to keep this file on your own disk, keeping an electronic path open for the next readers. Do not...»

«THE PRINCE AND THE PAUPER by Mark Twain The Project Gutenberg EBook Prince and Pauper, by Mark Twain, Complete #105 in our series by Mark Twain (Samuel Clemens) Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without...»

«‘Whatever next? Women’s Rights in Sáenz de Heredia´s Los derechos de la mujer (1962)’ Anja Louis (University of Sheffield) If we understand law as a paradigm of maleness, then the female lawyer film is a site where cultural attitudes about women, patriarchy and the power of the law converge. The representation of women lawyers in Spanish visual culture is surprisingly frequent.1 Women lawyers are often either openly feminist or helping the socially disadvantaged, so the character of the...»

«White Paper Predictive Coding The Next Phase of Electronic Discovery Process Automation By Katey Wood and Brian Babineau August, 2011 This ESG White Paper was commissioned by Recommind and is distributed under license from ESG. © 2011, Enterprise Strategy Group, Inc. All Rights Reserved White Paper: Predictive Coding 2 Contents Introduction Automation in the Legal Sector Moving Beyond Paper Beyond Linear Review The Promise of Search and Analytics for Attorney Review Predictive Coding – the...»

«Tony Miano Interview with Police Rough Draft of Transcription Date of Interview: 1 July 2013 Date of Transcription: 4 July 2013 Note: Tony Miano in Italics Police Interviewer in Regular Script Michael Phillips, solicitor for Mr. Miano italicized and capped by “LR:” Begin: This interview is being tape recorded, and. [unclear] Wimbledon police station. And there are no other officers present. We are at Interview Room Three at Wimbledon Police Station. and I am interviewing. Could you please...»

«INSTITUT EUROPEEN DE L’UNIVERSITE DE GENEVE Les accords de partenariat économique, une exigence juridique du droit de l’OMC ? Mémoire présenté pour l’obtention du Diplôme d’Etudes Approfondies en études européennes Par Fatimata Zahra Niang Rédigé sous la direction du Professeur Nicolas Levrat Juré : Professeur Jean-Pierre Lehmann Genève, 11 Janvier 2008 A la mémoire de mon grand-père chéri, Demba Batoura M’BAYE « Celui qui veut du miel doit avoir le courage d'affronter...»

«Š %XVFD/HJLVFFMXIVFEU Journal of Information, Law and Technology 7URXEOH ZLWK 3ULPH 1XPEHUV 'H&66 '9' DQG WKH 3URWHFWLRQ RI 3URSULHWDU\ (QFU\SWLRQ 7RROV Andrés Guadamuz González Law Lecturer University of Edinburgh a.guadamuz@ed.ac.uk This is a UHIHUHHG article published on: 6 December 2002 &LWDWLRQ: Guadamuz A, ‘Trouble with Prime Numbers: DeCSS, DVD and the Protection of Proprietary Encryption Tools’, 7KH -RXUQDO RI,QIRUPDWLRQ /DZ DQG 7HFKQRORJ\ -,/7 2002 (3)...»

«Bessen and Meurer Chapter 6 1 If you can’t tell the boundaries, then it ain’t property 1 Introduction In the previous chapter, we argued that the large and growing cost of patent litigation plays a critical role in the deteriorating performance of the patent system. We suggested that costly litigation is largely a matter of inadvertent infringement. Inadvertent infringement arises because patent boundaries are often fuzzy or hidden, or because the cost of searching patents and negotiating a...»





 
<<  HOME   |    CONTACTS
2016 www.theses.xlibx.info - Theses, dissertations, documentation

Materials of this site are available for review, all rights belong to their respective owners.
If you do not agree with the fact that your material is placed on this site, please, email us, we will within 1-2 business days delete him.