by Mike McNamee Published 01/06/2014
Note the way the hair tones have been made more interesting with variations in tone level. The darkening of the eye shadow with 'Smokey Eyes' has run over the hair in front of the eye on the right and this has to be masked back later.
We tested the new Lighting Control on a picture of a professionalmodel (who was, of course both pretty and impeccably turned out!).The Skin Lighting Control brings up a diagram of the face to enablethe user to tune the area of the facial mask that will be affected by thecorrections. This may be further refined using brushed masks within theprogram. The lighting can be adjusted for contrast and modelling whichwill bring out features of the model's face. For even more refinement youcan also control the cheekbones which places a smooth shadow beneaththe cheeks to 'optically' lift them. It is a subtle but effective result. Thelighting strength, as defined by the Left and Right Kick, can also be controlled.Many of these concepts are 'firsts', especially as automatic, machine-taught skillsand patents have been granted or applied for on various aspects.
LEFT: The setting for Batch control determine what happens along with the designation and naming of the processed files.
RIGHT: When the process kicks off, the interface is continuously refreshed as tasks are completed. The process for 24 Nikon D3s Raw files took about three minutes so it is quite quick, especially considering the amount of work being done!
The Smoky Eyes effect is to enhance the strength of eye shadow and we noted thatthis also darkened the area of the model's hair which had fallen over the eye. Thisis where the brushed masking comes in; we simply brushed the effect out! The Poutfeature enhanced the saturation of the lips; we did not see any shape change in theexample we tried.
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