3 Messages
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490 Points
Lightroom: Add vertically aligned Parade Scopes to be able to locate under & overexposure
Please (finally) add some professional tools to allow us to visualize, recognize, and locate dynamic range and color within an image: Vertically stacked "waveform" scopes for the R,G,B and Luma. (The old, very limited histogram long ago outlived its usefulness, especially as it's presented in LR.) Vertically aligned stacking of the scopes (rather than side-by-side parade scopes) makes it easier to coordiate the different scope displays and easier to correlate with a location in the image. A vertical column in each display would correspond to the values of R,G, & B in the correspondeing column of the image. The "brightness" of a point would roughly correspond to how many pixels have that intensity value in that particular column.
The vertical scale should go from less than 0 to greater than 1, where 0 is the current black point and 1.0 is the current clipping point. (Yes, negative values have meaning!) Include a toggle to easily go from showing the available RAW data (that might have data below the black level being displayed and above the current clipping level) to showing the clipped dynamic range (0.0 to 1.0 only). The target color space (sRGB, AdobeRGB, REC709, P3, etc. plus customizable settings) would determine what the "zero" and "one" levels correspond to in the RAW data. This way, you can easily see when data exists in the base image that is being clipped in the current rendering, and where it is located in the image.
While you're at it, allow options to do away with indicating color by 8-bit 0-255 values ANYWHERE in LR. I would like the options to use either 10-bit color values (that correlate to most video formats) or the more rational 0.000-to-1.000 scale any time a color is specified. This way you can see RGB color value representations that more closely match the 12-, 14-, or 16-bit values cameras use, as well as the new ACES format. Please also report standard luma values, not "brightness" or "luminance".
I expect that a vector scope, to actually be able to show things like skin tone and color casts, would be too much to ask for, but one can only hope.
The vertical scale should go from less than 0 to greater than 1, where 0 is the current black point and 1.0 is the current clipping point. (Yes, negative values have meaning!) Include a toggle to easily go from showing the available RAW data (that might have data below the black level being displayed and above the current clipping level) to showing the clipped dynamic range (0.0 to 1.0 only). The target color space (sRGB, AdobeRGB, REC709, P3, etc. plus customizable settings) would determine what the "zero" and "one" levels correspond to in the RAW data. This way, you can easily see when data exists in the base image that is being clipped in the current rendering, and where it is located in the image.
While you're at it, allow options to do away with indicating color by 8-bit 0-255 values ANYWHERE in LR. I would like the options to use either 10-bit color values (that correlate to most video formats) or the more rational 0.000-to-1.000 scale any time a color is specified. This way you can see RGB color value representations that more closely match the 12-, 14-, or 16-bit values cameras use, as well as the new ACES format. Please also report standard luma values, not "brightness" or "luminance".
I expect that a vector scope, to actually be able to show things like skin tone and color casts, would be too much to ask for, but one can only hope.
Responses
john_beardsworth
1.3K Messages
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22.5K Points
9 years ago
1
0
w_thomas_wall
3 Messages
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490 Points
9 years ago
John,
Yes. You would finally be able to see what the various sliders are doing to the RGB data of your image, and just as importantly, where. You would be able to see where highlight and shadow details are being clipped, as opposed to the data just not being there in the image at all. You could distinguish between clipping and crushing of the blacks, and tell where highlight color shifts are due to one channel clipping and not the others. (The vaguely defined histograms don't show any of this. What looks like clipping on the histogram may or may not be, and you can't tell where in the image a particular point on the histogram lies.)
As people get used to these scopes, they could learn to use them to judge color shifts they might not see easily on an sRGB monitor, and to set levels properly for video.
Every professional film and video color grading system out there has these tools, and they are usually displayed continuously while doing color timing. So, yes, professionals do use them, and would use them if they were in LR.
0
w_thomas_wall
3 Messages
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490 Points
9 years ago
The above comment addressed the need for waveform-like parade scopes and color RGB values on a linear, real number scale (rather than integers from 0-255 or some nebulous + or - setting). I suspect that most professioinal photographers would have no idea what a vector scope is or how to use it. While it can be an essential tool in color grading video, for green-screen keying and matte pulling, and judging things like skin tone, there's a learning curve, I suspect that most people, including most pros, wouldn't spend the time to learn. It would be really nice to have, but is probably not as essential as the above. Make that one for LR5 :-)
0
0
john_dunne_7792934
1 Message
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60 Points
5 years ago
0
0
philip_erpenbeck
2 Messages
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102 Points
4 years ago
It would improve my workflow and the applications usability, if the lumetri scopes from Premiere were available in Lightroom and Photoshop as well! The histogram is limited to giving information about brights and darks. A panel with Vectorscope, RGB Parade and Waveform can show you WHERE exactly these brights and darks are, plus where which color is in your picture! So I'm asking you Adobe, why isn't it already there??
I also wish there would be a skintone line in the vectorscope within Ps and Lr.
0
sebastian_42jjuwts7zgef
7 Messages
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288 Points
4 years ago
0
morgan_d12hy8p8saelh
3 Messages
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122 Points
4 years ago
As a colorblind photographer, I often have to export my photos to DaVinci Resolve or Premiere Pro to color check my photos before delivery to clients or before I share my work. Needless to say, this is a headache and slows my workflow immensely.
A feature similar to the Vectorscope or RGB Parade would be a perfect addition to fix this issue. It would aid able-visioned artists as well with things like white balancing if they want to be creative with their tones and want a more visual check of how they've adjusted their images.
Having this feature as something that could toggle on/off in the place of the histogram or another drop down option in the develop module would be a fantastic add to an already great program.
3
louis_luckwell
2 Messages
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102 Points
4 years ago
Please can Adobe add vector scope, waveforms to Photoshop, as it had in SpeedGrade and as you can still get in DaVinci.
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david_bicho
2 Messages
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70 Points
3 years ago
"- Do you want to know how to do it even better?
- NO! GO AWAY! EXPERTS IN ALL WAYS ARE EVIL GOVERNMENT BOUGHT PEOPLE THAT HIDE THE TRUTH FROM US ORDINARY PEOPLE! EARTH IS FLAT! I ONLY BELIEVE IN MY OWN CAPABILITIES! I ONLY BELIEVE IN WHAT I COME UP WITH WHEN SITTING ON THE TOILET! I REFUSE TO LEARN FROM ANY ONE ELSE BECAUSE THAT WOULD MAKE ME OFFENDED!!!".
Put in standard tools as RGB Parade and Vectorscope. Give all parameters much higher precision.
Make a big flip button with the text "I'M A TIN FOIL HAT" that hide everything with a higher learning curve than what an ant can step over.
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justin_bacle
1 Message
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82 Points
3 years ago
0
maddie_mae
1 Message
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62 Points
3 years ago
PLEASE add it!
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ye_wu_imjhhoawqdidm
1 Message
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100 Points
3 years ago
Currently I just use Da Vinci Resolve for color correction. But it is not convenience to use at all.
And PS's competitor, Affinity has this feature.
Please add PARADE and VECTORSCOPE.
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pablo_saitua
1 Message
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80 Points
2 years ago
0
emmett_keegan
1 Message
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80 Points
a year ago
0
antoine_hlmn
1K Messages
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16.7K Points
a year ago
0