Click on any phrase to play the video from that point.
[♪♪] [ADOBE PHOTOSHOP LIGHTROOM 4 Beta] [Julieanne Kost - Senior Digital Imaging Evangelist] Let's take a few minutes and talk about one of the most requested features and how we have implemented it in Lightroom 4, and that is the ability to soft proof your images. I'm here in the Develop Module, and you'll notice down in the toolbar here I have an option for soft proofing. I can either check the box here to toggle it on or off or I can use the keyboard shortcut S in order to toggle on and off soft proofing. One of the first things that you might notice is when I toggle it on, the background surrounding the image changes, and that's because we change it to emulate paper white. Obviously you could go in here and change that, but the Paper White is the default. If I toggle it off and right mouse click, you'll notice that it set my default to light gray when you're not soft proofing. So just be aware that it's just a right mouse click that will enable you to change any of those options. All right, so I'll tap S again to turn on soft proofing. I know I'm in soft proofing because it says Proof Preview right up here at the top. And over on the right-hand side, my histogram has changed to soft proofing. In addition, when I position my cursor on top of any of the values in the image, you'll notice that right underneath the histogram in soft proofing we now have RGB numeric values as opposed to percentages. When we look at soft proofing in the Develop Module, what we're really looking for are those colors that are out of gamut. Maybe we've added a lot of saturation to the image or a lot of vibrance to the image, but the problem with that is we might not be able to either see it on another screen like that in sRGB, so maybe if you were preparing this for the Web there might be a discrepancy, or there might be a discrepancy if you're printing the image and your printer can't print that large gamut of colors that we're looking at here. So you'll notice at the top of the soft proofing over here on the left we have a Monitor gamut. We can turn that display on and off to warn us. And on the right-hand side we have a Destination gamut. You can see that's a red warning. The Destination gamut, if you want the keyboard shortcut, is simply Shift S to toggle on and off that Destination gamut. That Destination gamut is dependent on the profile right underneath it. So right now I have this set to sRGB, but obviously I could change this to a printer profile. However, let's take a look at sRGB first, because what we hear a lot of times is your image looks one way in Lightroom, but when you export it as a JPEG file in sRGB for the Web it looks different. So let's turn off the red highlight, the warning there, and we can see that it's this blue color that is not going to translate very well. So let's toggle back on that warning, and now we have a variety of different ways that we can actually bring those colors into gamut. Obviously we could just go down here to the Basic panel and we could just take our Saturation slider down until those values come into gamut, but the problem with that is that not only did we change the blue, we changed the whole image, so now the reds and the oranges and everything else is a lot less saturated as well. Let's instead go down to HSL and see if we can't do a more localized color shift based on the color range of this blue specifically. I think the easiest way to do that would be to grab your Targeted Adjustment tool and then make sure that you're changing either the hue or saturation-- whichever one you prefer--because there's kind of 2 different ways we could maybe take this into gamut. We could either decrease the saturation of the color bringing it into gamut, or we might be able to shift the hue a little bit to either a more cyan or maybe a more purple blue, and that might bring it into gamut. So here if I use saturation by clicking on it right there, we can click and drag down. And you can see by just taking out a little bit of saturation in my blue I've now brought that color into the sRGB gamut. Let me do a quick Command or Control Z to undo that and just show you that I could go over here to the Hue slider, click in that same blue value, and just drag up a little bit. And as I drag up, you can see that my blue and my aqua sliders are moving to the right, making it a little bit more of a purple or bluer color as opposed to kind of more of that teal or cyan color that it was originally. So those are 2 different ways that we can isolate just the color range that's out of gamut and bring that into gamut. The other way we can do it-- I'll just do a Command Z again to undo that-- is we could do it with our Adjustment Brush and load it with a negative saturation value. And what that might help me with is maybe a smaller area. In fact, let's scoot down here because I could see that these chairs are not going to print that red. So I could go in and I could simply desaturate those areas locally using my Adjustment Brush. I might want to add a little bit larger of a brush or put a little bit bigger feather on here so that you can't tell the areas that I have painted and I haven't painted. But we can see that's bringing it into gamut. I might have loaded that up a little bit strong, so what I might want to do is now that I know that those values are in gamut, maybe I don't need to desaturate them quite so much, so I can use the slider here and move it to the right until I see those warnings coming back on. Excellent. So those are 3 different ways that you could bring those colors into gamut. Of course we don't have to work with sRGB. If you're going to a printer--let's say I was going to print on premium glossy paper-- I can go ahead and select that profile from the list. And now you can see that basically everything in my image is in gamut for the premium glossy paper. But if we switch to a matte paper, you'll notice that there are a few colors-- these brighter reds and yellows--that are out of gamut. So again, to bring those into gamut I could use one of those 3 options. I could either do it globally or I could use a specific targeted color range in the HSL or I could go in and paint with the local adjustment using my Adjustment Brush. In addition, there are some monitors that can't display some of the colors that can be printed, so that's why if we toggle off the Destination gamut and we toggle on the Monitor gamut, that's why we have this as well because this is warning me that that blue color that is actually in the file I am not actually seeing correctly on this specific monitor. So again, we can use any of those different kinds of adjustments to move the color gamuts here so that we can see them correctly. So one of the things that you'll experience when you first go in to Proof Preview is you'll get a warning dialog box from Lightroom asking you if you want to make a proof copy. And that's just a virtual copy, and the only difference between a virtual copy and a virtual proof copy is that we take the name of the profile right over here and we add it as meta data inside the file name. So it's really the same thing as a regular virtual copy. And the reason that we're going to prompt you to do that is because in the past it's kind of been-- The theory behind Lightroom is that we try to defer the decision-making process as far as your final output device as long as possible. So in theory, you can come in to develop and you can make all these changes and everything. And before soft proofing, you didn't have to tell Lightroom where you were going with the file, what the destination was-- if you were going to the Web or if you were going to a printer-- you didn't have to do that until you actually printed the file or until you exported the file. So now that we can emulate that destination device here in the Develop Module, we just want to make sure that if you're making corrections based on a device, you should know that you still have all of the original information in your master file and that you've kind of created this secondary version in order to go for that one specific device. Okay, so that's kind of getting your colors into gamut. We need to look at one other thing, and that is in the Print Module. When you're in the Print Module, if you go down to the Print Job, regardless if you're going to a JPEG or a printer, right down here there is an option for a print adjustment. This is here to solve that issue that we always hear about where people just say that when they print, their images look a little bit more dreary, they look a little bit darker, and they don't look as contrasty. So like Print Sharpening, where you pick how much sharpening you want on output, you can select how much brightness and how much contrast to add to an image or to a series of images when you're printing them to a specific device. So this is going to help with improving the tonality--not the color but the tone curve that's applied to the image when you print it to a specific printer. You can adjust the brightness and contrast, but you'll notice that there's no onscreen preview. So it is like Print Sharpening in that it gets applied as it is taking the image and printing it. It gets applied then. So you might need to kind of experiment a little bit and gain experience as to how much you want to increase the brightness and the contrast. All right, excellent. Let's go back to the Grid view for a moment. I want to talk a little bit about 3 enhancements that have been made to DNG, the Digital Negative format. The first one is that when you import files and you convert them to DNG or if you've already got images in your library and you want to convert them to DNG, we have an option here to Embed Fast Load Data. This is kind of similar to a preview, only it has nothing to do with a preview in the Library Module. Right? The previews that you see in the Library Module, those are cached in Lightroom's database. This preview right here, this Embed Fast Load Data, that's going to be used by Adobe applications in the Develop Module. And it only takes up, like, 200K so it's not a lot of information that we're putting inside the DNG file. And what it gets you is the ability to load files in the Develop Module up to 8 times faster. So that's going to be a huge performance benefit for those who like to go through images very quickly in the Develop Module. In addition, you'll notice something new here, and this is new to the DNG spec, and it might be a little controversial for some of you, because I know a lot of people think of DNG as the Digital Negative format, it's like the raw archival format. But we're now allowing you to save DNG files with lossy compression. So what does that mean? It means we will actually be throwing away information. So be careful if you choose this. This is not for every file, and this is not for every person. Who this is intended for is, say, a wedding photographer perhaps who maybe has shot 2,000 images but they know they're only going to use 500 of them, but they don't want to throw away those other 1,500. Now you can set this to use lossy compression on the 1,500 that you really know you're never going to use again but you don't want to throw away. We have actually gone through and we've optimized the lossy compression. It is a JPEG type of compression. If you want to know more about it, it's all in the specification. But we've balanced out how much compression versus image quality. And so there's no slider or anything in here for you to adjust. You just turn this on, and we will compress it. And we've noticed that we're getting results around a quarter of the size. So you can imagine if you do have 1,500 images, or maybe you went on safari and instead of 1 picture of an elephant you've got 500 pictures of an elephant and you know you're not going to use 400 of them, this would be a good use to compress those 400 that you really don't think you're ever going to use again but don't want to throw away and save up a lot of space. I always say that hard drive space is cheap. And it is, but I also realize that it's not free, so this might be a good option for some people. And finally, let me cancel out of here and show you one last DNG new feature, and that is on export. So on export--let's go here--I've got 2 presets. You'll notice that in the File Settings here under DNG not only can I use lossy compression, but if that's turned on, look what happens down here under Image Sizing. So just using lossy compression keeps the original pixel count of your file. So we're only compressing the data. We're not making your file go from 5,000 pixels to 3,000 pixels. If you want to do that, you have to do that on export. When you use lossy compression, you then get the option to resize your image. So now we're actually doing 2 things. Not only are we compressing the file, we're also reducing the image dimension. So for some folks who know perhaps that they are never going to print those extra 500 images greater than 4x6, this would be a great opportunity to save a ton of file space. Excellent. That covers everything about the implementation of soft proofing as well as the new features in the DNG specification. Thanks for watching. [ADOBE PHOTOSHOP LIGHTROOM 4 Beta] [Crew - Kush Amerasinghe, Erik Espera, Karl Miller] [Presenter - Julieanne Kost - tv.adobe.com/evangelist/julieanne-kost - ADOBE TV]