Hintergrund Unschärfe & mehr im Lightroom Update

Hello everyone, Matthias here. Welcome to a new video in which I want to show you what's new in Lightroom. Adobe has released another great update and there are not only new features, but also a few things that I have wanted for a long time. Definitely a great thing. We'll start with something that's actually super easy, but has been missing for a long, long time. It's a huge change that many have kind of overlooked, I have the feeling. We are no longer dependent on the cloud version of Lightroom CC, so not the actual classic, but the cloud version. Which brings the huge advantage that if you only use Lightroom CC, you don't necessarily need as many cloud storages. So you don't have to book 5TB of cloud storage just because you have to upload everything to the cloud with all the force. That was the case all the time. Now we can go here, this is my current Lightroom file, and not only use these albums, but we can also go to local up here and search for almost every file. And of course, we can also sort and edit the pictures as we are used to. And what's nice about it is that if you click on the star next to it, you don't have to look for it anymore, but you can find it in the favorites. But I find it a bit of a shame when I use the overlapping folders here. So this is the direct folder in which the pictures are stored, and I'm going to go to the academy weekend now. That's not possible. Unfortunately. But hey, it's already a step in the right direction. I'm curious to see how it goes on here, but we have even more. And this more actually works through all applications now. That means no matter if Classic, no matter if you use CC, no matter if you use the mobile app. With restrictions, I say, but I'll show you that in a moment. They all work with these new functions. Great. We'll start with something slow, because HSL has changed. HSL is usually known so that we choose certain color areas in the photo that we can then change lighter, darker, less saturated, more saturated or also from the color tone. That was here so far, where the color mixer is now. Is that the surface we already know? You know, yes. But we can now operate the whole thing a little easier. First of all, the old one remains. If you want to work on this variant, you can continue to do so. But we can also go to the point of point color here. Point color. No matter why this is not translated now, but is written in English for me. No matter, it definitely works. Point color now ensures that we can choose a color with this pipette here. Let's just take the skin tone here and edit it the way we're used to from HSL with two additional controls, I'll say. I can go here, of course, change the color tone, change the saturation, change the luminance, change the brightness. You already know that. We can also change the area again. So how far the deviation from the original, which I have chosen up here, may deviate. You can just demonstrate that. Let's go here and turn off the saturation completely. You can see that the skin tone has already deviated relatively well, but the feet have not fit in anymore. A little bit is still missing in the face. Then I could expand the area a bit more and it would take more of the face and more of the feet. Just to explain that briefly. I'm going in the other direction, of course. If I take less away, it will stick much more to this area that was originally selected. I can also display that by saying here, visualizing area. And then it only shows the color that I have selected at the moment. Maybe I shouldn't have deviated it, but leave it normal. You can see very well that this is the color that I have added. I could now also expand the whole topic again with the area here, either in the color tone, in the saturation or in the luminance area, and I can adjust it very finely. Great story. I'm telling you, it's awesome, awesome, awesome that we can now choose a color tone so precisely. But not just one. We can also say, okay, one, cool. What if I want to change two? If I don't just want to take the skin tone, I'll take the visualization out of here. But I might also want to change the grass back here. Then I'll choose a second one. Go to the back. I would also like to have the green. I have the same setting options. You can put as many rows as there is space here. I haven't reached the limit myself yet. But we can take a look. At some point it will make sense. At some point you don't need more. But you can see that it doesn't stop us here. We can choose what we want in terms of points without having to say at some point, excuse me, maximum one or only two. Just put it on. Fits so far. And if something doesn't fit in terms of the selection, you can control it again down here precisely with the areas. I can say, hey, a little more of the orange area or a little more of the magenta area down here, or something like that. And of course I can change the color again to say, what do I know, hey, skin, maybe a little brighter or something like that. Sure, he also took more from the background. You could still control that in the details. But that comes in the editing. The whole thing is now independent of the actual HSL. That means we didn't draw HSL controllers that were simulated, but it's something additional that comes on top of it. What if that's not enough now? If we now say, okay, color, but I don't just want this one color, but maybe choose a little more. Pay attention, it gets even better. In the mask area, if I choose a mask here, I also have the point color at this point, so at this point. That means I can combine that with my own masks again and choose even more precisely. It's getting more and more, that's wow. I sometimes have the feeling that we have too many controllers in Lightroom. Here, same topic, select skin tone. Maybe I should reset my original one here. Exactly, reset, point color. Then we can do that here. In my mask, I also selected that. I have the same editing options. Up here, maybe again briefly for the explanation, I can change the saturation and the color tone. That means when I pull it down, it is less saturated at the moment. When I pull it up, it gets more saturated. You can see in the picture, the saturation goes up. When I pull it to the right, it goes a little more in the direction of yellow, yellow-green. When I pull it to the left, it goes a little more in the direction of magenta. Even if we now have the disadvantage here again, it runs like in the HSL area. It makes the whole color. That means everything I change here will affect the whole picture. On every pixel that corresponds to this color selection. You can check that again with a mask, like here in the example. As you can see, the tally is not affected now. It only went to the background. Maybe it's good that I don't absolutely miss the model skin color tone in every example. It was just to demonstrate the whole topic. That works, great thing. But of course that's not the only thing. We have one more thing that I think is absolutely great. Even if it may need a little more work. I wasn't 100% satisfied with most of the results yet. But that's something that comes with time. Maybe you already noticed it. Early access. Early access means it's still in beta stage. Work is still being done on it. Sometimes it may disappear again if it doesn't work at all. In the end, it just shows that it's not quite finished yet. Adobe is still working on it. The results can vary. This is now a way to reinforce this blur, which we already have wonderfully in the background. Or if we don't have anyone or just have very few, we can put another one on it. Let's take another picture. For example this one. You can see that we have a little bit of blur in the background. I would like to have more. No problem. We go to apply. He calculates how the picture is built up. How is the depth in the photo? Because depth is actually being worked on. And draws what is in the background. I'll just do it here at 100%. So that you can see it a little bit more blatantly. He draws soft. And you can also see quite nicely. Here in front it was drawn soft. Maybe we'll just show it here before and after. So that you can see it with the sharpness. Here in front it was sharp all the time. There it is now a little less sharp. Same thing in the background. He has wonderfully recognized where in front, where in the middle, where in the back. This is not 300% precise from the measurement. But at least once in a while. But we can also refine that. We can also go here. Let us visualize the depth for the first time in the photo. That takes a while until this preview is calculated. But you can already see quite nicely. What is here in front so yellow-orange is very close to the camera. And the darker the color gets, you can also see nicely visualized here. The yellow is at the very front. And the further I go into the purple or the nothing area, the black, dark area, the further away it is from the camera. Now you can already see very nicely that it is of course not perfect. On the forehead we have such a slight purple spot, which actually does not belong there. We also have such a spot here on the wrist. Over here on the arm such a spot. Actually, it should be completely orange from the distance, from the distance measurement. This is now again the theme, which is also a problem, which I have with many of these blurred filters. Be it this portrait mode on the smartphone. Be it something AI, blur, whatever, tool, plug-in. That there are all sorts of things. They are just not precise. You can't simulate it 100% exactly, how the camera, how the lens does it. But it's a good step in the right direction. And of course, work is still being done on it. Okay, so far, so good for now. Of course, we can influence this again here, in which area should be blurred. He has now built this with the motif recognition in Deormand. I could, for example, also say, if we go further down here, first of all, the degree of blur is how strong. I intentionally set it strong now, so that you can see something. Of course, I can now say, please, a little further forward. I want the background not to be sharp at all. Now, by the way, you can also see the spot on the forehead, which does not fit 100% in there. Or I want to put the sharpness further back. And then the foreground becomes blurred and the background becomes sharp again. As I said, not precise. Definitely not precise, but something that already offers a very good direction. So, let's do it again here on the actual motif. You can not only work with the motif recognition, you can also work with this target here. What is this clicker? Is there anything as an explanation? With the point focus, wonderful name, I can go here and click on it once and can also say, hey, I would like the sharpness back there. And then it is adjusted accordingly. If I have already photographed it bluntly, it will of course not get sharper. But such things work that I have the control again, both through a slider and by clicking in the picture. And you have also seen, you can still change this size if you want and still reduce the sharpness a bit, as you want. Well, so far, so good now for the first time. That was a really cool thing now. Also such things that you can just change the bokeh back here again, just to say, hey, I would like that maybe what I have already photographed here in front, maybe on the picture, so a little bit, or I want a very special effect, then of course I can go here and can here, as soon as it is, say, hey, bokeh should either be circular, either here, I don't know, have this shape. Sometimes you need a little bit, or it also goes a little bit angular here. And then it is adjusted here in the back. Sometimes you see it stronger, sometimes less strong. You can also strengthen the effect again and then you can see relatively well, okay, this is more of an oval story, you can also make it circular and then it is circular, depending on what effect you want to have, which lens you want to simulate, but it is still not perfect. You can see it here, very clearly on the hairs over here, that it looks like if you put the iPhone in portrait mode or playmobil, because it is cut hard, but we can control that. We can define ourselves what should be sharp and what should be blurry. A gigantic progress compared to now, for example, the AI blur from Photoshop. That didn't work 100% with the masking, so let's just go here, look here, the background should be blurred, maybe we have problems with the forehead, but I have here the possibility to either paint the focus, the area that is sharp, or the blur in a special way. And then I can do things like this, let's go a little bit, not to 200%, but to 400%, so we can see something. And I could now correct this ellipse by saying, hey, please in the focus area I want, then I get my brush in there, maybe the forehead to the soft edge, and maybe the size a little further down, and could now here, let's do it fast and rudimentary, correct my ellipse, let it calculate for a moment, looks much better, there is still a little something, he always turns off the preview, that's a bit annoying, but much better compared to before, or I go here and say, I made something not blurry, paint over it, and he overwrites his own depth recognition, and just makes it blurry, what I told him at the moment, and I have the 100% control over what I want to do. The hair, okay, you can now argue about it, if this is really necessary, if you really see it so blatantly, I see it here when I zoom in at 400%, but honestly, when I go out here, you don't even see that I made it so wild if the mask is not 100%, it's just an automatism that sometimes works better and sometimes less well. It's completely normal, it's very clear, probably things like between the legs here, for example, or here some kind of elbow bend or something like that, the mask recognition often has its problems, that can sometimes lead to that it just doesn't fit, but in principle I find the effect quite good, and I'm curious how the topic will evolve in the future. In addition to things like performance improvements and whatever was changed under the hood to get a little bit more speed out of it, I now have two things that are probably a bit smaller for most people, but I think I'll do a bigger tutorial about one of them. First of all, in case no one noticed or didn't see it, we can search through presets. If I'm someone who has a lot of presets, let's search for the Sujan preset. Oh, I even see that I got a Sujan preset from the standard Loupedeck preset. And here, for example, my own. So I could search for presets relatively quickly and don't have to scroll around for ages. I have a search with me, that's a great point. And the next point could actually get a little bigger, because maybe someone has already seen it, we have a new button. This new button is called HDR and when we click on it, not much changes at first. We have a slightly different histogram, we have a few other controls and so on in the direction. And at first you think, it has something to do with the HDR processing, but on a different way than you might think. This is specifically designed with a HDR monitor for the HDR output and for the displays or maybe also for the pressure for which it is used. In any case, I need it for the processing and of course later for the output in some way something that can represent more depth. Not these standard 8-bit monitors, but a monitor that supports HDR. This is the basic requirement for it. That's why it could also be that there is such a warning symbol in here and that it also tells me that even if I come here and turn on some previews, it just looks a bit strange. But first I would have to put my monitor on HDR and of course maybe make my own tutorial on the subject if you are interested. Feel free to write in the comments below. It has nothing to do with saying, hey, I photographed a HDR, I have my exposure series here or something like that in the direction and would like to export that. It's not about that, but if I want to visualize something as HDR and want to represent it as HDR, I now have a process in Lightroom that supports that in some way, as long as I have the hardware for it. That's the very important point. I need the hardware for it, so don't focus so much on this story. I wanted to keep it a bit small, but if you are interested, feel free to let me know. I don't even know how many of you have HDR monitors or how many of you are watching TV because it's a great marketing gag. Feel free to write it in the comments if you want to learn a little more and see a little more. Otherwise, that was the biggest thing that was improved in Lightroom. It's still two or three little things, but most of it is more in the background that you don't really realize that XMP files are written faster, that previews load faster and stuff like that. The new function is actually where we can really play around with it, so that you can see that something has changed in the program and not just an update and no idea what to do with it at the moment. Strange. After that, half of it doesn't work again. What a shit. All right, that's it. If you want to learn more about Lightroom, if you really want to get deep into it, want to have a workflow, want to get to know all the tools and also want to know how to actually use them for image editing. Check out my Lightroom Master Course. I'll show you everything there, including workflow, including image editing of 12 or 15 different situations, so that you know exactly what you can do. Just check it out and I'll see you in the next video.