All language subtitles for 47-DevelopingCinematicPortraitsInLightroom.mp4

I'm going to take you through one more,

and we're going to go to the singles.

And so this is a set of a few images.

I'm not going to retouch the black and
whites, but I'm going to start with an

image like this, because I feel like it
has this nice little warm light.

Good might develop and reset it.

So this is what this image looked like
at a camera.

It's a little bit warm.

What we did was we added in that line,
I know I said, only used one light for

this.

This was that extra, when we had an
extra little cto and threw it in the

back and kind of made something that
looked a little bit like sunset.

This obviously fights a little bit of
the cinematic motivated lighting stuff

that I was talking about, but

we'll get over it.

Ok?

Now, first thing that I'm going to do
is actually adjust the exposure a bit.

I think it's a bit too bright,
especially actually, for end of day.

And so I'm going to bring it down to
something closer to this.

This brought it down about a stop.

I was probably a bit a bit hotter than
I was, really I should have been.

And so I'm going to put it to be about
right here.

Ok, now,

my white balance is not in a great
spot.

So what I'm going to do, because this
light is so so orange, I can actually

get away

with going a bit more into that bluish
color a little bit.

So something a little bit colder,

then

the neutral

by just a bit.

That still makes my orangy light very
orangy.

Something like that maybe?

Yeah.

So it makes my organized you light very
orangy.

And even though this was shot at,

I think we shot around

three o'clock,

it really doesn't look that way.

So this is what happens when you get to
overpower

the daylight.

So

this is a pretty good starting point.

I'm going to tweak this a little bit
more.

I think there's a bit too much magenta.

I want to play to

the greener olive tones in this.

So I've got that orange ish highlight,
which is helping with the skin tone and

making it look like daylight.

But I've gone a little bit into the
olive color, which I think ties into

the clothing and the plane a bit more.

Again, it's all about creating that
color continuity

and tying the color grading into the
image itself.

So I've got a nice bit of color right
here.

Now I'm going to come down to this
section and flush this out a little

bit.

So let's double click on the blacks and
the whites and see if I like that

better.

I think it's a bit too much with the
whites.

I'm going to bring that down.

I think the blacks should come up a
little bit as well.

It gets me pretty close.

So that looks good.

I'll see what shadow detail looks like.

So sometimes what i'll do is I will
bring shadow detail up, and then i'll

bring the overall image down, because
it helps me kind of bridge the gap.

Same is true, like i'll bring the
highlights up and i'll bring the

overall image down.

And that can be a way

to make certain adjustments that

require a bigger adjustment

as well.

Why might you do that?

Well with skin?

For example,

in lighter tones of skin, when you want
to smooth in it out, you push the

highlights up because it compresses
everything into that tonal range.

And when you do that,

it makes it look smoother, but it also
makes it so makes the skin look really

bright.

So to keep the highlights pressed
together, but still give yourself the

overall look and feel of the image that
you want,

bring the highlights up,

push the overall image down,

meats in the middle,

ok,

all right

this, I think looks pretty good.

I'm going to give myself a little pump
to the clarity.

That's see what my vibrance looks like.

But we bring the saturation down.

I usually like to go up with the
vibrance and down with the saturation.

Vibrance will give the whole overall
image a bit of pop of color, but it

preserves the skin tones a little
better.

And then saturations is going to get me
into that more

olive tone

bleach bypass, kind of a kind of a look.

All right.

Now, the skin, in particular, I think,
is a little bit reddish.

So what I'm going to do is come down to
my hsls,

and I'm going to go to my orange

tone, which is skin, and I'm going to
tweak it a little bit.

See how it's a little bit red.

This way, I push it just a little bit
more into the yellow,

and it helps me neutralize out

that color cast in the skin tone.

You can push it too far and it becomes
green.

So be careful about that.

And then saturation,

now it's pretty good.

No, green

is my red.

We don't want to do that.

It gives him lipstick.

All right.

So

tweak this color just a little bit

ok.

So I think this looks really nice.

And where it began

was here.

This is why the development process is
so very important.

This is a huge difference.

And nothing has hit Photoshop yet.

I haven't even done a local adjustment
on this yet.

So if I wanted to, for example, to give
myself a bit of a better flare

radiogradient

across,

there's already a flair there.

But now it's even more of a flair

if you want to go this round.

Like, you can do this.

I don't love it,

but,

like,

I don't love it in this image, but in
certain images, this can be

a very effective

little extra

thing

that looks better there.

Maybe

this is a little bit more subtle,

ok.

And so here is where this might end up

from here.

And the nice thing is, let's say you
come to this image here, and you hit previous.

All I've got to do is a few tweaks to
the exposure

and it's good to go.

That's where that plus and minus comes
into play.

Ok?

Now, I think this looks pretty good.

I like to do a little bit of preemptive
sharpening.

We'll kick it up to there a little bit.

I mean, it looks better,

and that looks really nice so no
clipping.

I've got a tiny bit of highlight back
there that I should probably get rid

of, which i'll do when I get into
Photoshop.

But yeah, no, what.

I'm pretty happy with that.