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[♪music♪] [ADOBE TV Presents] [The Complete Picture with Julieanne Kost] Hi and Welcome. My name's Julieanne Kost and in today's episode of The Complete Picture we're going to take a look at all of the new refinements and enhancements to Adobe Camera RAW. I'll start here in Mini-Bridge and simply open with the default application that will launch Adobe Camera RAW. The first thing that we should take a look at are all of the refinements in the way that we demosaic and sharpen our images. Now, this is going to be pretty difficult to see, because even though I'm viewing this now at 100%, since this videotape is going to be compressed, you're probably not going to see what it is exactly that I'm going to show, but let me explain it to you. Because the RAW processing engine is so different than previous versions, we actually have a new process version. So you'll notice in the lower right-hand corner there's an exclamation mark on this image. This is telling me that this was processed in a previous version of Photoshop or a previous version of Lightroom because the Adobe Camera RAW technology is the same-- that core underlying technology is the same in both applications. So it's warning me that this has been processed in a previous version. In order to update this, I can either click on this exclamation mark or we can go to the Camera Callibration tab and you can see here Process 2003 or 2010, which would be the current enhanced technology. I'll go ahead and select that. The exclamation mark disappears, and we reprocess. Now, what is it that we're reprocessing? We are reprocessing the entire way that we demosaic the RAW file. We're also applying better sharpening and better noise reduction. So we'll start with the noise reduction. I'm going to move over to our Detail tab and you can see we have a Luminance and Color Noise Reduction slider. As I move the Color slider over to the right, you can see that all of that color artifacting-- kind of those splotches like Christmas tree lights, is going to disappear. Once I remove that noise, I can then use the Color Detail slider in order to kind of maintain all of the saturation and all of the detail in my image. So it's fantastic now that we can remove all the artifacting while still retaining that saturation. Now let's take a look at the Luminance slider. This is where there's just been incredible improvements. You'll notice as I move this all the way over to the right all of that noise is completely removed. Although for an image like this, that's probably a little bit of overkill, so let's go ahead and back off a little bit on the Luminance. Now we can just use the slider to refine it. But that's not all we can do, because the Luminance slider is removing the noise in the Luminosity channel, but it also tends to get rid of a little bit of detail, so you're going to need to find a balance. You can use the Luminance slider for the overall balance and then the Detail and Contrast slider. Now, the Detail slider, as I move it over to the right, Photoshop is going to try to bring back detail, but you might notice a little bit of artifacting if you go too far. So you'll want to remove as much detail as possible, so we'll need to bring that slider back in order to hide that artifacting. The Luminous Contrast is actually going to allow us to build in a little bit of contrast in the areas where the noise was removed. So in this case, I'm going to move it over quite a bit because I want a little bit of contrast in that wall. I don't want it completely smooth; it's a textured wall, and the Contrast slider is going to help me bring back that information. Excellent. Let's go ahead and move to this next image, and then I'm going to move over to the Effects panel. Now, it may seem a little ironic-- here we've spent all of this time developing the amazing ability to reduce noise and at the same time, we're going to give you the ability to add in noise, or in this case, grain. And there's many reasons why you might want to do this. For example, you might have a series of images that are photographed with different ISOs that have different amounts of noise in them and you want to make them look like they're all one part of a cohesive story. Or if you're doing any compositing in Photoshop with multiple layers, you might want to add grain to one image to match another one. So there's lots of reasons to use the grain. Now, I'll go ahead and zoom in. I'm going to need to zoom in probably to at least 100% here to make sure that you can see this on the video, and then I'll add as much grain as possible, and you can see that grain in the image. If I toggle on and off the preview, there is before and there is after. I can also control what size grain I want. So do I want really small grain or really large grain? And the roughness of it--do I want to move this over to the right and make it kind of more clumpy, maybe like a film look of the past? Or do I want this to be kind of smooth grain? It's up to you. The point is you can now add as much or as little grain as you want. Now, let's go ahead and zoom out on this image, and I'm going to use the Crop tool. You can see that I've already cropped this image. So if I wanted to add a vignette to it, I would not want to use the lens correction because the lens correction vignetting is going to apply to the entire image. So I'm going to want to use the Post-crop vignetting. And we have 2 new styles here: we have a Highlight Priority or a Color Priority, because we got some feedback in the previous version with the Paint overlay-- that's what we were doing before-- that when it was printed, the vignette tended to look a little bit muddy. So now you can choose between Highlight Priority or the Color Priority. You dial in your amount. Of course, we can darken a vignette or you could lighten it if you want to. In this case, I'm going to darken it, bring in my midpoint, and we can make this either a very edge effect, like a square effect, or we can make it a round effect and we can add an amount of Feathering to make a nice, soft edge. When I switch from the Highlight Priority to the Color Priority, it's not going to make a great difference in this image, but where it has a lot of impact is if you have, say, almost an overexposed-- a borderline overexposed sky. It's very similar to adding a Curves and Adjustment layer in Photoshop. You know, when you add a Curves adjustment and you make a drastic change to the curve, sometimes your image gets a little bit more saturated where you've changed it. That's what you're going to get with a Highlight Priority. If you change this to Color Priority, then it's like that Curve Adjustment layer in Photoshop when you set the Blend mode to Luminosity and we don't change the color values. So it depends on what's more important to you. Do you want that color shift? And sometimes, you really do, because you want the sky to get nice and dark in the vignetted area. Or do you want to keep the colors of your images more true? In which case, you would set it to Color Priority. So although some of these changes might be difficult to see through the videotape, I strongly encourage you to check it out because the processing has just gotten so much better. It's just phenomenal. Thank you for joining me. My name's Julieanne Kost. Join me again next time on The Complete Picture on ADOBE TV. 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