Pedro Rodríguez

Saturation is designed to avoid neon colors. If you increase chroma too much, you easily get colors that seem to glow. Saturation alleviates this by slightly darkening as you increase it, and slightly lightening as you decrease it. Masks are a good option, but skin is often in the midtones, so if you increase saturation in the midtones you often get good results. Also, I've been playing with the shadows and highlights falloff in the masks tab, as well as where both areas overlap. Once color equalizer is merged, you will be able to target specific hues much quicker, though. Hope that helps

Really enjoyed this one

Just a couple of thoughts on this issue that I'm really looking forward to having solved.The image grid serves two main purposes as far as i can tell:- Navigation: to open a particular picture for development, or to take an action on a picture or group of pictures.- Culling: to select which pictures are worth keeping and processing.For navigation I'd say you generally need a smaller magnification, and the current system of arrow keys to move around, spacebar for selection, etc. Works ok.For culling it is a pain. The best scenario for me for this workflow would be right arrow + number to rate pictures (or "r" to reject). This way you can fly through this boring task without ever lifting your fingers from two keys. It would also be helpful to be able to have a higher magnification to see one picture at a time at a larger size to check focus without opening the image, while you can keep track of upcoming images on the film strip.Also, and I know we have talked about it, but I still think that jpeg previews are the safest option for people with not very powerful computers. You'd still get complaints that the starting point doesn't look like the jpeg, but that's way better than complaints for having computers freeze trying to generate previews.

That's it for me. Have you given any more thought to what I suggested yesterday regarding removing selection altogether and having always at least 1 pic selected?

Found the better solution, I think. Reduce contrast in color balance RGB and bring shadows down with offset and shadows luminance sliders. It also has the added bonus of being able to control the contrast fulcrum in the masking tab.

Let's take this example of an indoor shot. One version is your typical exposure adjustment and filmic auto levels. It works great for me.The other is the same in terms of exposure (+1.970 EV), but went crazy with white relative exposure in filmic (+16EV). So that the curve wouldn't break, I reduced contrast in the look tab to 0.800. Then, following the recommendations of the Color correction handbook, I lowered the power in color balance RGB to -13.37% and raised my shadows by 100%.Here is the raw file:https://drive.google.com/file/d/1s2_6y5ErnIH--9sKqmxo-tqpaTNcqEcq/view?usp=share_link

Yes, understood. Let's not call it whites, but upper highlights, then. It is not for nothing. I've been watching quite a few color grading tutorials for a while, and often the key to making a very heavy grade work is blacks, whites and skin tones. Blacks are taken care via offset. Skin tones need to be masked out and integrated in the grade via opacity, aka reducing the strength of the grade on the skin. Power is for midtones. You can control how steep or smooth the mask is, but that wasn't what I was asking. What if am to do a full grade using offset, lift, gain and power, but I want to exclude the upper highlights so they are white? For example, I want very cyan looking highlights that become white or whiteish as they approach peak luminance. For that I need to do my grade as usual and mask out the top end, right?

If you do want to tint highlights but not whites, then you have to mask them out, right?