Create Cinematic Movie Still Look in Lightroom (Tutorial) Video Lecture | Adobe Lightroom CC: Photo Editing Masterclass - Design

oh hey everybody welcome into this Adobe
Lightroom tutorial brought to you as
always by touch vidcom today we're going
to jump into Lightroom and take a look
at how to get sort of this like movie
ask cinematic type of frame here in
Adobe Lightroom we're going to go
through the coloring and the tonal
adjustments and the cropping and
everything that we need to do to make
this image look the way that it's
looking and I've got an example of the
image up here on screen now so you get
there look at it you know what we're
driving toward and I think this will be
just a cool sort of workflow and just
the thoughts that are going through my
head in terms of making this image
happen as we're working our way through
it maybe you can apply some of these
techniques in your own work so with that
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back let's get started with this video
so you can see here this is the finished
product
I was messing around with like a black
and white version that's kind of cool as
well but this is the original shot this
is the shot directly out of camera and
we're going to take this and we're going
to give it sort of this you know looks
like it could be a panning shot for some
you know big cinematic major motion
picture now this was shot with fairly
simple light we just had some reflected
light up here like in the top left
corner camera left that is and that was
pretty much it I may have even had this
little light turned on but we really
didn't have to too much going on here in
terms of lighting we just lit it very
simply very softly and just let it be
what it was the the room that we had
gotten for the shoot you can see it's a
little messy up here still kind of under
construction but I just love this
particular part of the set because of
all the old book you know shelves and
the clock and everything else is kind of
a grungy desk and it just worked I
thought it looks pretty cool so we're
like let's try to light something here
so we did now let's talk about the way
we're going to attack this image now
immediately I think to avoid the
distraction of all this stuff going on
up here I think we should establish our
crop first and then look at changing the
light and changing the tone and texture
and everything that's going on there so
what we'll do is we'll grab our crop
tool that's this first tool here in our
line of tools and over here we have our
sort of you know this ruler icon but we
have this word aspect and then blank and
next to it if we click on the blank area
we get this little pop-up menu that says
hey you know or what kind of crop would
you like to commit we use 16 by 9 1920
by 1080 right that kind of thing now we
don't want to do that we want to enter a
custom crop and our custom crop is going
to be that cinematic 2.39
by one so 2.39 by one gives us a very
you know thin you know like you would
see a major motion picture on the screen
we're going to drag this down I'm
watching up here this top corner I want
to make sure that I probably don't see
any of the wall behind him so I just
want to see books as if books were
running all the way up to the ceiling so
something like that hit enter or return
to commit your change and you can see we
already just totally change the way that
our photo looks it looks pretty cool
already so let's begin here in the basic
panel and I think I'm going to try to
cool things down a little bit so with my
temperature slider I'm going to slide it
back I'm somewhere between 43 and 4500
I'm at 44 50 I think that looks pretty
cool we make the scene a little bit more
steely a little bit maybe more creepy
that looks pretty neat and then we could
increase the creepiness probably by
pushing a little more magenta but maybe
we'll try to almost warm it up a little
bit so we'll push the green back to like
negative 40 or so I think that's kind of
neat so now we've really almost enriched
the scene that looks pretty cool I think
will be interesting to try to drop the
exposure a little bit more so maybe
we'll drop it like a half a stop so the
zero negative is 0.5 and then to open up
some of the shadows a little more will
also drop the contrast as well so take
that down to like negative 30 I got
negative 29 whatever we're not this
isn't an exact science this is more of
like a sweet mixed science Moxie here
that we're playing with highlights we'll
come back to them in a minute I kind of
really like the way especially the high
light is falling on this clock it's sort
of very diffused the highlights on his
skin are pretty nice there's a ton of
dynamic range that's in the
that looks pretty cool I'm not going to
mess with highlights or whites right now
I think I will boost the shadows though
so let's boost the shadows and we'll go
like plus 75 on the shadows we can see
if I double-click the shadow slider to
restore it to default you can see we're
just really opening up some of those
shadows over there we want to be careful
going too high might make it look almost
too grainy and fuzzy we just want to
open it up and really make the image
begin to look very flat that flat image
tends to be the base of almost every
cinematic image that there is out there
and as we're doing this if we take a
peek up here at our histogram you can
see there's still a ton of dark tone in
our image this left stalks yeah left
side of my histogram I don't know why I
mix in my left and right say this left
side of my histogram this as you can see
indicates the blacks and the shadows
there's a ton over there still
whereas our mid-tone exposure and our
highlights and just bright whites
there's virtually nothing so there's
still a ton of information packed into
the shadows and it's just generally a
very dark image I think I want to still
even with that in mind drag the black
slider backward a little bit just to add
just a kiss of darkness to the very
darkest bits of the image just make them
darken a little bit and I think maybe
what I'll do is pull the whites up a
little bit I think I will do that you
see what that's doing that that
highlight I'll just watch his face right
you can see how it just changes the
highlight on his face so it goes from
kind of muted to all of a sudden it's
pretty bright now it's way too bright
we'll just push it up to like maybe plus
25 ish we can throw a little clarity in
here just going to give it a little
mid-tone punch will almost give the
illusion if as if the image is a little
sharp or you want to be careful going
too high though you tend to get a really
kind of nasty you know like I might as
well be editing this and you know I
don't know some cheap cheapo editor on
an iPhone or something so we're like
plus eight with the clarity vibrance I'm
not going to touch I may go in and
desaturate it a little bit if you like
knocking down negative 15 will do that
so there we go we've set our basic
slider we can always come back and
adjust it later of course so I'm going
to set the basic slider and then I'm
going to move over here to my tone curve
so you may be working with what you may
be working here with your parametric
curve but I want to work with my point
curve which is this guy so you use this
little icon here in the bottom right
corner of the tone curve area and what
we'll do is we'll try to lift some
highlights here so maybe what I'll even
do is use little fingers
grubby tool and I'll select somewhere
around the brightest parts of the image
and the part of the clock is a little
bit too bright I'll select this diffuse
highlight on his head and I'll just drag
this upward a little bit just to
increase the brightness of those areas a
little bit I can use this little on/off
switch right here next to tone curve to
shut off my changes right before after
you can see we're just pulling that up a
little bit and then I can come over to a
darker part of the image I want
something somewhere right around here
notice too by the way behind the curve
here we have a very faint overlay of our
histogram so it's a little compressed
but it's the same thing so if I want to
select I know something in like the the
lightest parts of the black range that's
probably right about here on my curve
right about there so if I want to darken
out just a tiny bit I can do that just
by selecting dropping a point there and
just pulling it downward a very tiny but
it's a very subtle change you can see
there's before and after wears boosting
the brightness of the general highlights
across the image and maintaining the
darkness of the shadows thus far let's
go here we've got our all of our
different color channels let's go to the
red Channel and let's pull a little cyan
into the image so we'll place a point
right down here and we'll just pull down
a little bit pulling down pulling up
pushing up pushes red into the image as
you see but the opposite of red is cyan
so if we pull down we get a cyan cast
we're going to go very subtle very
subtle as we always do there's before
there's after we're adding a little bit
of that cyan color adds a little bit
more that kind of you know creepiness to
it let's go to the green Channel and in
the very shadows here we're going to
drop a little magenta and then I think
we're very quickly going to pull back to
just kind of like a normal we don't want
to add too much green to the highlights
we're just mainly looking to add just a
little kiss of magenta to the shadows
again there's before there's after we're
really building out this color grid a
little bit and then I think over here
we'll go to the blue channel and in the
blue Channel we're just going to look to
add the opposite of blue is yellow so if
we obviously push up you get a lot of
blue be pulled down you're going to get
a lot of yellow I'm going to just double
click this to get rid of that point we
want to place the point probably
somewhere right around here and just
pull downward a little bit it's just
going to add a little bit of yellow to
the darker parts of the image alright so
overall our tone curve there's before
there's after we're just we're
increasing the contrast a very little
bit making sure we bump our highlights a
little bit and introducing a little bit
of color into the shadows I kind of kind
of dig it so I'm going to
tone curve there and let's move down to
split toning we could play around with
HSL as well but you know I don't know I
don't want to get too mixed up in HSL in
this image it's almost a monochromatic
image so I'm not too concerned about you
know like making sure the color is
really popping off the clock if anything
we want those colors to be subtle and
subdued so the whole image is very
sublime very flat but beautiful feel to
it I'm going to come over here to split
toning and there's some cool things you
can do with split toning if you hold
down your altar option key number one
you get a reset button so if you need if
you make like some crazy changes to
highlight so we can just say boom reset
highlight and then the highlights get
reset but also if you hold on your alt
or option key and begin dragging the hue
you're going to see the part of the
image that is affected and sort of what
that color looks maxed out to 100% so I
can go to like blue right and you can
see there's what it looks like on the
image not really what I want I want some
kind of subtle orange highlight like
something like that but I don't want to
bring the saturation up to 100 I want
the saturation to be pretty low you know
then not leave it around like 15 again
there's before there's after it's a very
very subtle change and then here with
shadows we can do the same thing you can
see shadows make up a much greater part
of the image so it's going to be a much
stronger change and here I think I'll go
with kind of like a dark almost midnight
blue and we'll boost the saturation of
that in the shadows if we go too far it
starts to look too blue will go subtle
leave it around like eight to ten I'll
go with eight and that's probably cool
so that is our split toning and I think
we'll also come down here and play one
with camera calibration and we can try a
number of things we're working with the
profile Adobe standard but if we check
out something like camera neutral camera
neutral actually makes the image more
flat now in this case it might actually
be too flat at that point so I'll
probably stick with Adobe standard but
let's try for instance pushing some some
magenta tint into the shadows that's
kind of cool right so there's before
there's after so just kind of like
really chalks everything up makes it a
little bit heavier and let's shift the
red hue a little bit let's shift it over
toward the pink maybe I like negative 15
ish and then we'll desaturate the Reds
overall I'm not you know taking them
down to zero I'll take it down to like
negative 25 negative 30 somewhere around
there and I think I'll try to boost the
overall green primary color you can see
if we push that up what it looks like
it's actually pretty cool it brings some
nice color into the front of the desk
and maybe to the sort of the darker
shadow
parts of his skin so push stand up to
the plus 40 plus 50 something right
around there looks pretty good and last
but not least we'll miss around blue
primary if I shift it way over to the
left it looks really pink and way to the
right it looks really green I think I'll
just a little bit of pink help balance
out some of that cyan that we messed
around with and then we'll try to boost
the overall brightness or excuse me the
overall saturation of the blue gem quite
a bit so I'm going to go like plus 85
right that looks it looks about right
I'm going to shut off my camera
calibration there's before and there it
is after so you can see how camera
calibration really kind of pull things
together pulls this whole thing together
for us as well we can also go in and do
some lens correction if we go to like
manual here we can change the distortion
right so we could like pull this back a
little bit something like that and we
could also take on constrain crop which
will make sure that Lightroom is always
cropping the image but you can see if we
do it too severely like over here this
just looks really bad where it's very
obviously a bow in the shelf so I don't
know that I want to do much in the way
of lens correction if anything I might
end up pushing it out the other way just
a couple clicks toward me that's pretty
cool I'll collapse lens correction and
just we can do a quick before and after
there's before there's after so we just
bumped it out toward us a little bit and
then under detail we can use our little
loop tool here make sure we select his
face or sing a nice close-up of his face
there and we can just boost the
sharpness so I can drag sharpness up to
like 90 let me increase the radius a
little bit if you hold down your alter
option key you can really see what the
radius is going to attack depending on
how big or small you make it and also
you can work with a one to one view
switch it one to one up there it's going
to zoom you if you will to 100% so we
can hold in our alt or option key again
radius and we can say yeah you know what
those are good edges that's pretty cool
and then in terms of detail again you
can go down alter option and see exactly
what the detail is doing I'm going to
reduce detail quite a bit and if you
leave around 15 and then masking is
going to show you what bits actually
receive sharpness so we really only want
the edges to get sharpness so though the
white areas here this is sort of the
mask on the fly the black areas don't
get any sharpness the white areas get
full sharpness and every shade of gray
in between gets a varying level of
sharpness so we can say you know like
right about there probably looks good
I'm going to go back to the fit option
up here I'm going to hold down my alt or
option key on the masking thing once
more yeah we can see the edges of the
books are all getting a little sharpness
but like the dark shadowy areas of
color on the front of the desk right
watch that there that's solid black it's
not getting any sharpening except where
there actually are edges so that's
really really great
there's before sharpness there's after
hour sharpness and I probably zoom in to
100% so we can actually see it there's
what the sharpness shut it off and
there's before the sharpness so the
sharpness makes quite a big difference
and really we can go back to fit here if
you did want to do something like the
kind of milky black and white I have
here we could do something like that
fairly easily go up the basic convert it
to a black and white by hitting black
and white we would have to dump our
split toning so hold down alt or option
and just reset the highlights and the
shadows we will probably also want to
get rid of what we've done here in the
tone curve so you could get well you
could just shut that off with a little
switch honestly and then you know come
through with basic and probably increase
the contrast a little bit may boost the
overall exposure a little bit I probably
should have created a virtual copy here
before I did this but you know hey let
me think about these things after the
fact decrease the blacks a little bit
you know what I do have to turn tone
curve back on so I'm going to turn it on
I'm going to speed through here and just
reset all of this stuff go back to the
green double click on that go to green
double click that and when I jump up
here to RGB I can just double click on
these points to reset them and the thing
I'm most concerned with here is just you
know anchor point here just past the
shadows and then take the actual black
point and boost it
so we'll boost that black point just
kind of like that I'll shift this bottom
point over and then I'm going to make me
make another point here to just brighten
up those areas in the middle something
kind of like that you know brighten up
my overall shadows a little bit
something like that looks good probably
need a little bit more contrast at this
point something like so increase the
whites brightness a little bit maybe
decrease the shadows a little bit more
and you know I don't know you can get
kind of an interesting kind of flat but
faded you know milky smooth ish black
and white photo as well so that's really
it for this tutorial that's how you can
go and create a cinematic frame and I
also threw in that little black and
white conversion there at the end just
because why not right we're here we're
doing this work we're doing this thing
so why not take it a step further like
we almost always do so if you've enjoyed
this video again drop a comment down
below or leave a little like on the
video also make sure you subscribe to my
channel so you never miss another video
in the future that sounds like a great
plan to me for creating a single
cinematic frame image in
lay room using the basic the curve split
toning camera calibration and cropping
and this black and white stuff and so
much more
that's it get it got it good Nathaniel
Dodson sub vidcom I'll catch you next
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