
How I Work with Color - arash_milani
https://medium.com/@JustinMezzell/how-i-work-with-color-8439c98ae5ed
======
dperfect
Different people use Photoshop in different ways, but here's some feedback
with respect to curves vs levels:

Curves can do everything that levels can do, and more. If you understand
curves, you really shouldn't need to use levels, and you certainly don't need
to use both right next to each other, applied to the whole image. I cringe a
little bit whenever I see people use multiple levels and/or curves adjustment
layers in succession. Not only is it unnecessary, but you'll be _throwing
away_ color information. You'll see evidence of this in histogram combing and
color banding. Of course, it may make sense to have several local curves
adjustment layers that apply to isolated areas of an image (e.g. with masks),
but it's generally a mistake to use multiple global curves (or levels)
adjustment layers in succession.

It's probably not much of a problem for illustrations with flat colors, but
you'll definitely notice it in gradients and photographs.

~~~
Scene_Cast2
Yes, technically any set of consecutive lookup tables can be combined into a
single LUT.

However, it's often easier to stack them and just makes sense. Plus, 16-bit
color makes it technically possible.

Let's say that you're working with a color-sensitive piece in a color-correct
pipeline. First adjustment layer should be to bring your pantone color card to
look right. Then, the next adjustment right after that would be your overall
grading pass, e.g "cold" or "vintage". Then, the next pass could be to "get
those skin tones a little pinker". Much easier than working on a single global
correction layer.

~~~
dperfect
I agree with that. 16-bit color helps a lot (but doesn't completely eliminate
the risk of throwing away data), and the approach you mentioned (correction vs
grading) is a valid exception to my point - though if you're doing that, you
likely understand what you're doing and the potential gotchas.

My point was more targeted toward the numerous tutorials I see where people
use many such adjustment layers without real purpose other than to "play
around" with the color, turning the image into a posterized mess (especially
by stretching things too far one way, then essentially negating that
adjustment with something else).

------
mbrock
I love the idea of using a strong and somewhat arbitrary palette which is then
tuned with "post-processing" layers. Instead of worrying about the exact shade
of every color separately, you can achieve cohesive effects on the whole
palette.

~~~
mikeytown2
A lot of the pro level camcorders do this. For Sony it's called slog-2 and
slog-3. Here's a video showing what it looks like:
[https://vimeo.com/110595557](https://vimeo.com/110595557)

~~~
jakejake
Footage shot in logarithmic color space looks extremely dull and grey until
you apply a LUT (lookup table) to it. I'm not sure if it's exactly what the
Author is doing, but it is interesting to me when you see footage that almost
appears black & white. Then just applying some magical math to it, all of
these vivid colors pop out!

------
michaelpinto
Suggestion to non-design founders:

If you really want to learn about color you should start with a serious study
of color theory. If you don't have the bandwidth to take a full course you
should read the book "Interaction of Color" by Josef Albers.

