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I've been asked to adjust the CMYK levels to a few jpegs so that they match the following percentages:
When to Convert an Image from RGB to CMYK. Then, convert the images to CMYK prior to placing the TIFF files in your page composition document (an InDesign file, for instance). That is, color correct the image, fix any flaws, remove any dust, etc., in RGB mode, then convert to CMYK, and then review the image on-screen in CMYK mode. RGB (Red-Green-Blue) is a color scale most commonly used by graphics-editing software to create images. The RGB color scale is the default color scale used because computer monitors use it to emit light. Unfortunately, many printing devices, such as offset-lithography, use a CMYK (Cyan-Maroon-Yellow-Black) scale for printing.
C - 60%
M - 40%
Y - 10%
K - 100%
Obviously, the blacks wouldn't change. What I'm wondering, though, is how to affect the changes to the image. It's in the CMYK format but I can't find a way to adjust the different channels individually. I've looked up many different subjects, such as how to adjust the color separation as well as changing the color settings (Edit > Color Settings).
I think they may be asking me to do something using the wrong terminology. Any help would be appreciated!
For general information about color correction and color adjustment, including links to tutorials and other resources, see Color correction, color grading, and color adjustment.
Third-party effects in this category included with After Effects:
- CC Color Neutralizer effect
- CC Color Offset effect
- CC Kernel effect
- CC Toner effect
See Third-partyplug-ins included with After Effects.
After Effects provides you professional-quality Lumetri Color grading and color correction tools that let you grade your footage directly on your timeline. You can access the Lumetri Color effect from the Color Correction category of the Effects menu and the Effects & Presets panel. Lumetri Color is GPU-accelerated for faster performance. Using these tools, you can adjust color, contrast, and light in your sequences in new and innovative ways. With editing and color grading working hand in hand, you can freely move between editing and grading tasks without the need to export or launch a separate grading application.
The Color workspace is designed not just for experienced colorists but also for editors who are new to color grading. You can apply simple color corrections or complex Lumetri Looks using intuitive sliders and controls. Or you can easily adjust cuts or fine-tune grades using advanced color correction tools like curves and color wheels.
This effect works with 8-bpc, 16-bpc, and 32-bpc color.
Selective color adjustment with the color correction curves
As an editor or colorist, the selective color adjustment curves enable you to have targeted and precise control over correction of specific color ranges. You can access these curves in the Lumetri Color effect panel. For example, the Hue vs Luma and Hue vs Hue curves allow you to quickly and accurately control the brightness and specific hue (color) of any precise color in your video.
For example, you have a pack of crayons - red, green, and light blue and you want a darker blue to match your color palette. You can pick the light blue and use the Hue versus Luma curve to change it to dark blue. This change does not affect the other colors in your image.
RGB Curves let you adjust luma and tonal ranges across the clip using curves.
- The master curve controls the Luma. Initially, the master curve is represented as a straight white diagonal line. The upper-right area of the line represents highlights and the lower-left area represents shadows.
- Adjusting the master curve adjusts the values of all three RGB channels simultaneously. You can also choose to selectively adjust tonal value only for Red, Green, or Blue channels. To adjust different tonal areas, add control points directly to the curve.
- Click directly on the curve line and then drag the control point to adjust a tonal area. Dragging a control point up or down lightens or darkens the tonal area you’re adjusting. Dragging a control point left or right increases or decreases the contrast.
- To delete a control point, press Ctrl (Windows) or Cmd (Mac OS) and click the control point.
The five hue and saturation curves provide complete control for color correcting your videos and images. You can pick a color in your video and adjust the hue, saturation, and brightness. You can also adjust the saturation for a range of brightness or a range of saturation in a video.
- Hue versus Hue - Select a color (hue) in the image and change it to another hue.
- Hue versus Saturation - Change the saturation of a color in the image.
- Hue versus Luma - Adjust the brightness of a color in the image.
- Saturation versus Saturation - Select and adjust the saturation range within the original saturation of an image.
- Luma versus Saturation - Select a luma range and adjust its saturation.
- In the Timeline panel, select the clip to correct. Select Effects > Color Correction > Lumetri Color. You can also view this option in the Effects & Presets panel under Color Correction.
- In the Effect Controls panel, under the Lumetri Color effect, twirl open the Curves option. After Effects displays two options:
- RGB Curve
- Hue Saturation Curves
- Twirl open the Hue Saturation curves. All the color curves display under this option. You can use all the color curves and even a single curve to color correct/grade your footage.
- Follow the steps in the Set up Hue Saturation curves section.
- Click the eyedropper for the curve that you want to use.
- In the Composition panel, click the color in your clip that you want to adjust. When you select a color with the eyedropper, it adds three points on the curve. One point represents the color you select, and the other two control points restrict the selection to a narrow range.
- Drag the control points to adjust any of the color curves.
- When you selecting another color with the eyedropper, it adds additional three points to the graph.
- You can also create control points by clicking the curve. To delete a point, use Cmnd-click (Mac) and alt-click (Win).
- Double-click any point to clear all points from the graph.
- Press the Shift key while you select a point on the graph to lock a control point at thier current hue.
- Drag the center control point up or down to raise or lower the output value of the selected range. For example, you can use the Hue versus Sat curve to select a green range; dragging up increases the saturation of that range of green colors in your video, while dragging down reduces the saturation.
- While moving a control point, a vertical band appears to help you judge your final result. It is useful in the Hue versus Hue curve, where it can be tricky to judge the resulting hue. For example: you want to fine-tune the orange color which looks like a pale yellow. You can use the Hue versus Hue curve to select a range of orange colors. With the center control point selected the vertical indicator shows you that pulling down shifts the pale yellow towards orange.
Examples to illustrate the hue saturation curves
The Curves group of the Lumetri Color effect includes curve adjustment tools to make selective color grading simple. You can use the two-axis graphs to adjust the following:
- Hue versus Saturation - Adjust the saturation of pixels in a selected hue range. Useful for saturating or desaturating specific colors. For example, in the image, this curve has been used to increase the saturation levels of the image making the girl look less pale. The saturation of the blue sky and the light has also been increased to make the image look warmer.
- Hue versus Hue - Adjust the hue of pixels in a selected hue range. Useful for correcting colors, for example, the curve is used to change the hue of the dress of the girl. This curve is useful for tasks like changing red to orange, or in fixing pale skin.
- Hue versus Luma - Adjust the luminance of pixels in a selected hue range. Useful for emphasizing or deemphasizing isolated colors, such as making blue skies darker or a purple flower brighter. In the example, the pale blue sky and its reflection in the water below has been darkened to add more drama to the image.
- Luma versus Saturation - Adjust the saturation of pixels in a selected luminance range. Useful for saturating or desaturating highlights or shadows. In this example, this curve is used to slightly increase the blue tones within the luma.
- Saturation versus Saturation - Adjust the saturation of pixels in a selected saturation range. Useful for bringing colors into legal range, such as compressing highlights or shadows.
You can also use this curve to ensure broadcast legal saturation levels by desaturating everything above 75% saturation.
The Auto Color effect adjusts the contrast and colorof an image after analyzing the shadows, midtones, and highlightsof the image. The Auto Contrast effect adjusts the overall contrastand mixture of colors. Each effect maps the lightest and darkestpixels in the image to white and black, and then redistributes the intermediatepixels. The result is that highlights appear lighter and shadows appeardarker.
Because Auto Contrast and Auto Color don’t adjust channels individually,they don’t introduce or remove color casts.
The Auto Levels effect uses many of the same controls as theAuto Color and Auto Contrast effects.
Note:
A quick way to remove (or at least reduce) theflicker caused by fluctuations in exposure and color from one frameto the next is to apply the Auto Color effect. This is useful, forexample, in reducing the flicker of old film or for correcting forthe flickering color of a light source.
The range of adjacent frames, in seconds, analyzed to determinethe amount of correction needed for each frame, relative to its surroundingframes. If Temporal Smoothing is 0, each frame is analyzed independently,without regard for surrounding frames. Temporal Smoothing can resultin smoother looking corrections over time.
If selected, frames beyond a scene change are ignored when surroundingframes are analyzed for temporal smoothing.
How much of the shadows and highlights are clipped to thenew extreme shadow and highlight colors in the image. Setting theclipping values too high reduces detail in the shadows or highlights.A value in the range from 0.0% to 1% is recommended. By default,shadow and highlight pixels are clipped by 0.1%—that is, the first0.1% of either extreme is ignored when the darkest and lightestpixels in the image are identified. The lowest and highest valueswithin the range after clipping are then mapped to output blackand output white. This method ensures that input black and inputwhite values are based on representative rather than extreme pixelvalues.
Identifies an average nearly neutral color in the frame andthen adjusts the gamma values to make the color neutral.
The transparency of the effect. The result of the effectis blended with the original image, with the effect result compositedon top. The higher you set this value, the less the effect affectsthe layer. For example, if you set this value to 100%, the effecthas no visible result on the layer; if you set this value to 0%,the original image doesn’t show through.
The Auto Levels effect maps the lightest and darkestvalues in each color channel in the image to white and black, andthen redistributes the intermediate values. As a result, highlightsappear lighter and shadows appear darker. Because Auto Levels adjustseach color channel individually, it may remove or introduce color casts.
See AutoColor and Auto Contrast effects for explanations of the controlsfor this effect.
Note:
A quick way to remove (or at least reduce) theflicker caused by fluctuations in exposure from one frame to thenext is to apply the Auto Levels effect. This is useful, for example,in reducing the flicker of old film.
Original (left), and with effect applied (right)
The Black & White effect converts a color imageto grayscale, providing control over how individual colors are converted.
This effect works with 8-bpc and 16-bpc color.
Decrease or increase the property value for each color componentto convert that color channel to a darker or lighter shade of gray.
To tint the image with a color, select Tint and click the colorswatch or eyedropper to specify a color.
The Black & White effect is based on the Black & Whiteadjustment layer type in Photoshop.
Richard Harrington provides a video tutorial on the Creative COW website that demonstratesthe use of the Black & White effect.
The Brightness & Contrast effect adjusts the brightness and contrast of an entire layer (not individual channels). The default value of 0.0 indicates that no change is made. Using the Brightness & Contrast effect is the easiest way to make simple adjustments to the tonal range of the image. It adjusts all pixel values in the image at once—highlights, shadows, and midtones.
This effect works with 8-bpc, 16-bpc, and 32-bpc color.
Rich Young collects tutorials and resources about the Brightness & Contrast effect and alternatives to it on his After Effects Portal website.
The Brightness & Contrast effect uses GPU acceleration for faster rendering.
Note:
The Color Finesse plug-in included with After Effectsincludes excellent tools that can help you keep your colors withinthe broadcast-safe range. For more information, see the Color Finessedocumentation in the Color Finesse subfolder in the Plug-ins folder.(See Plug-ins.)
The Broadcast Colors effect alters pixel color values to keep signal amplitudes within the range allowed for broadcast television.
Use the Key Out Unsafe and Key Out Safe settings for How To Make Color Safe to determine which portions of the image the Broadcast Colors effect affects at the current settings.
Note:
A more reliable way to keep colors within the broadcast-safe range for your output type is to use color management features to set the output color profile accordingly, such as to SDTV (Rec. 601 NTSC). This method ensures that color values in the range 0.0–1.0 in your working color space are converted to broadcast-safe values. (See Broadcast-safe colors.)
The broadcast standard for your intended output. NTSC (NationalTelevision Standards Committee) is the North American standard and isalso used in Japan. PAL (Phase Alternating Line) is used in mostof Western Europe and South America.
How to reduce signal amplitude:
Reduces the brightness of a pixel by moving it toward black.This setting is the default.
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You can import and apply an arbitrary map file with Options inthe Effect Controls panel. When loaded into After Effects, the specifiedarbitrary map is applied to the layer or to one or more channelsof the layer, depending on how it was created. If you don’t selectan arbitrary map, After Effects applies the default map (lineardistribution of brightness) to the layer. Cost to replace tpms. Although you can’t import.acv or Photoshop spline files into the After Effects PS ArbitraryMap effect, you can convert these files in Photoshop to create filesthat are compatible with the After Effects Curves effect.
The amount to lighten shadows in the image. This controlis active only if you deselect Auto Amounts.
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