User Manual

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Using the Log Mode Controls to Stylize Normalized Media
You can also use the Log mode controls on normalized images. Although the results you get
will be somewhat different, this can be a fast way to create interesting stylizations. Whereas the
broadly overlapping tonal ranges of the Lift, Gamma, and Gain color balance controls allow
subtle adjustments to be made very easily, the Log palette’s color balance controls affect much
more restrictive tonal zones that overlap much less when used on normalized images.
The following illustration shows an approximation of how the Shadows, Midtones, and
Highlights, by default, divide the tonal range of the image into non-overlapping thirds. As you
saw in the previous section, these divisions were originally intended to map to log-encoded
media. However, with normalized media these divisions provide a different, and potentially
useful, set of ranges from the Primaries mode controls.
Shadows Midtones Highlights
High RangeLow Range
This graphic shows the tonal range of each of the Log controls with
the additional low and high range to expand or contract the range
With normalized media, the Shadows really do only affect the darkest shadows, falling off at
approximately the bottom third of image tonality. The Midtones affect only the middle third of
grays, and the Highlights affect the brightest top third of image values. However, these default
ranges of image tonality can be adjusted using the Low Range and High Range controls, which
are described in more detail later.
The following image shows the default interaction of extreme corrections made to a grayscale
image using the Log mode controls. The Shadows have been pushed toward green, the
Midtones have been pushed toward blue, and the Highlights have been pushed toward red.
Extreme adjustments showing the overlap of the Shadow,
Midtone, and Highlight color balance controls
As you can see, with normalized media the color interaction between each adjustment is very
subtle. The darkest shadows end up bright green, the midtone values are vivid blue, and the
highlights are almost pure red. This restrictiveness is useful when you want to limit a correction
to a specific tonal range within the image without needing to use a Luma qualifier. It’s also quite
useful for making bold, stylistic color adjustments when creating a non-naturalistic look.
Chapter – 117 Primary Grading Controls 2661