White pixels are the current pixels that are selected and represent the region we want to target our correction. If you hold down your option key, then drag on the softness slider a matte view will appear in the Viewer. Don’t make the circle too large or you’ll be including color values you don’t want to include in the mask – like the palm trees. The size of the outer circle determines the range of variation in the selected color. If you drag outward, you’ll see concentric circles appear. Only blue pixels are displayed and the rest of the image is muted in gray tones. As you’ll see, even if your initial selection is not perfect, you can add to your sample later.Ĭlick and hold with your mouse. I suggest sampling in the area where there’s the greatest amount blue pixels, in this case, toward the top of the frame between the palm trees. The question now becomes, what section of the sky should I sample? There are darker more saturated pixels at the top of the frame and lighter, less saturated pixels at then bottom of the frame. To sample the sky color select the eyedropper in the Color Mask section then move it over the image in the Viewer. With the playhead parked over the clip, open the Inspector. But in this case, instead of removing the sky, I’m going to make it more vibrant. I want to use a color mask to isolate just the sky so it can be altered using the Color Board.Ī Color mask is similar to chroma keying where the background of shot is keyed out and replaced with a different background. Here’s a a shot of your typical day in Los Angeles. In this episode, I want to show you how to give your skies more punch using a Color Mask.
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