Capture One 20 | Live : Four portrait edits

good afternoon everybody thanks for joining today this is just a quick sound check for my benefit so you can ignore this and I'll see you in around ten minutes you good morning or good afternoon everybody welcome to today's webinar which is all about editing portraits so that's a plan for today we've got four to five depending how long I ramble on for portraits to get through and sorry I just need to close something otherwise we're gonna hear me twice there we go are you going to hit double David otherwise so we've got four portraits to run through variety of different shots some daylight some studio and all requiring slightly different techniques so it's not too repetitive either but before we get to that just a couple of things housekeeping things to mention hello to those of you on YouTube and Facebook because we're going out to three different locations at the moment and if you're in the webinar room itself so hello to you guys as well for those of you in the webinar room just a couple of things to note and that's leave for everyone else so we've got a maximum of 60 minutes today which is plenty for this session based on what we did this morning fingers crossed depending on my rambling of course if you're in the webinar room and you want to ask a question it's better if you pop it into the Q&A tab that just keeps it separate from the chat so that it doesn't get mixed up and then it's difficult to see there's also my buddy and colleague Diego helping us in the webinar room too so you might see some questions and colleagues on YouTube and Facebook as well so you've got the attention of tons of people from capture one at the moment now in the webinar room if you want to hide the chat and the Q&A you can just hit that little collapse arrow and that will give you a bit more screen real estate as well and for those of you on YouTube and Facebook please don't be afraid to pop any comments and questions that you have in there as well so this is what we're going to look at today so a couple of studio shots or two or three studio shots a couple of daylight shots we might not get to all of them but there's a good mix of different kind of variety and skills and photos all donated from our community as well and I'll give those people who offered these photos up for a try in these webinars as we go along as well okay so I think I'm going to start with we're going to grab one from Emily Emily T great photographer based out of Brooklyn in New York so this is the shot as it came at a camera and I think this was this morning's effort now it's very rare I actually managed to get everything to match that was the day before I think so let's see how we go with try now a couple of different edits and see how close we get but this is a nice example of using layers I won't use the skin tone tool on this one that's going to come up with our surfer dude this guy because this is a really good exercise in using the skin tone tool and a few other bits as well then we've got more of an editorial portrait shot also from Emily and then a few others you can see on the top row which we can try and get to as well so that's the plan all right let's start with Emily shot so I'm going to grab our crop tool first of all and just go in a little bit tighter so something like that now there is a slight blemish up in the corner of the background and there's actually a scratch I can see here so we get rid of that at the end just using the healing clone tools as well now what I want to do with this shot is kind of a little bit more high key a little bit brighter and maybe a slightly cool tone we had a sort of fight two camps this morning whether it should look better cold or warm but the good news is here you can go either way so first of all I want to bring up the brightness a bit and the reason why I say brightness is that I don't want to bring up the exposure because the darker tones like a hair I want to kind of keep them a bit richer and a bit darker and using the brightness is just going to lift the skin tones a little bit more with less than of an effect in the shadows and you'll see us do that a few times with some of the shots as well so exposure will lift everything by the same amount brightness is going to kind of affect the mid-tones and a bit more now white balance wise I might just call it off a tiny touch as well not by much and then we can always also look at color grading at the end to see either way that we could push it so that's the first step looking at the levels I'm just going to hit Auto on the levels that all just give us a good setting at the end points which will remove any flat is and give us a little bit of contrast now that already looks pretty nice out of camera but what I thought would be good on this shot it's beautifully sharp nice and InFocus and so on with some other shots we're going to go for increasing the clarity slider so that's this guy over here but on this particular shot we can actually drop the clarity down a bit so if we take it sort of to around 30 points now it might be hard to see what's going on on a webinar transmission now just looking at it here it doesn't look like there's much of a loss of sharpness or anything like that it just takes the edge of it a tiny bit so if I click on the clarity slider and hold then you can see before and after or maybe easier if we bring up our before and after slider you can see it's just softened it a little bit like in the skin texture and so on but it doesn't make it look blurry or you know unpleasant or anything like that it just gives it a nice glowy feel one thing thinking about this for color grading I wouldn't mind the background just to kind of cool off a little bit more so looking at our curves if we pick the blue curve if I hold the cursor tool just on the background you can see a little orange line dance around on the histogram itself so you can see that her skin tone in the background had just kind of on this peak so if I give this a big nudge you can see obviously the effect that's going to have that's not desirable but I just want to kind of take it a tiny bit just into the cooler space like so so nothing drastic but just a little bit of the tint like so now we can always modify that and in actual fact if you want to do a little tiny a little bit then you can also bring the curve tool out and make it a bit larger and that gives you kind of finer control as well so that would obviously be a lot but I just want to give it a little tiny barely imperceptible nudge like so okay let's pop the curves tool back don't often use out in the different color channels but it's nice every now and then so how far have we got if we bring up before and after you can see what's going on a couple of things I want to do is maybe treat the hair separately because everything like face wise and her skin tone looks kind of you know nice but I want my making the hair a bit stronger so we can deal with that on a separate layer so let's make a new layer and we're gonna call this hey it's good to name your layers so you don't forget what's going on grab in our brush right click to get our brush settings up and we're going to go flow to 100% if you don't know what flow does don't worry about that right now hold that thought because we're going to mess around with flow quite extensively on the next edit so if we press end to see our mask we're going to do a pretty sort of quick rough mask on her hair doesn't have to be massively accurate it could probably be a bit better than that though David so I'm just gonna grab the eraser and make this a bit bigger and just take out my little overspill there so we're not doing anything super accurate so it doesn't have to be blinding the accurate mask so what I want to do I love her hair color and kind of lost that a little bit with the tweaks we've made so far so what I would like to do is check in a bit more contrast so it's a bit glowy and richer and that will increase the saturation a tiny bit the contrast slider or when you add contrast especially with a curve on RGB the contrast will go up a fair bit if you use the contrast slider the increase in saturation is moderated a little bit so it won't go off the charts now I want to push this a little bit harder but now you can see in the darker tones we're losing a bit of definition so to counteract that we can just bring up the black slider a little bit not by a huge amount but just so we can see the detail going in there and then white kicking a bit more saturation too so if we turn this layer off and on then its subtle change but it's got you know a bit more Sheen there and a bit more contrast and so on once again let's have a look at before and after and we can see kind of what's going on like so now as I mentioned we've got a bit of a wrinkle in the top left hand corner now previously in capture 120 that would be a job for Photoshop which is would be kind of annoying but now we can grab our Healing Brush I'm going to make this a bit bigger and just do a sort of generic splat over here and then capture one we'll pick a point which is actually about looks pretty seamless doesn't it and there's a scratch on the background here so let's get rid of that as well because that's going to bug me so we can just follow the line like so it's also pretty good and her skin is actually pretty you know have to go to 200% before we see anything but if we want to do a little bit of spotting then we could do so as well now one of the shots actually there I mean out of all the shots everyone's got pretty amazing skin so it doesn't require a huge amount of spotting and it'd be pretty boring for you to sit here and watch me dust and spot but you get the idea we've capture ones new healing tool it's pretty easy just to select it over here capture one will automatically make me a new heel layer and then I can just go ahead and then get rid of any sort of marks that I want but as I said her skin is pretty outstanding so we don't really need to do a great deal but for removing that background kink that worked really nicely if we turn this layer off and back on and that scratch in the background that's you know a really good use for that all right um let's have a look at any questions that have popped up we've got Andre and Diego helping out as well so if some mystery person does answer your question that's way dodging and burning I saw she banker was asking yes we would do a little bit of dodging and burning I think yes we were actually but there's several different ways to do it and there's not just like a dodge and burn tool it's essentially creating a layer and then deciding what tools would make sense to do you're dodging burn or whatever just looking at other questions hello everyone from Poland hypervalent what's the point in creating a hill layer steve was asking if you can't use the tool on a regular layer it keeps it separate Steve so this here will layer if I press M you can see where all my healing points are that keeps it as an entirely separate layer now you're probably thinking but what if I want to change density or something like that the healing will always kind of match any change so if we go to the background and just mess around with exposure healing follows with it so it's not like you get a whole bunch of spots suddenly appear that you have to redo so different to photoshop in in a big way so Steve don't feel that there's anything missing it's kind of very useful to have the healing on a separate layer now healing points will be unlimited so you might ask what's the point of having more than one hero layer sometimes it's nice if you want to moderate the opacity of a heal layer so if I wanted to remove this spot under or I I could heal it but then bring the opacity back a little bit now her eye looks perfectly normal so I wouldn't do that but on someone like me with light bags under their eyes that could be technique couple you asked about if you've cropped the image sometimes a healing point can dance outside of the crop which is true which I agree is quite frustrating so if you are going to do a lot of healing either save your cropping to the end or if you need to just reset the crop do your healing and then throw your crop back on but I know that's that's a bit of a frustration but there's not a way around it currently you can delete the healing tool effect with the razor Omar was asking so a couple of different ways to get rid of a healing point so you can either just select it tap once and it turns orange and press backspace on your keyboard and that will get rid of the healing point and or you can actually use the eraser to erase parts of the mask as well okay just looking over on Facebook and YouTube thanks for helping out there is there a quick key to adjust the healing brush without holding hiding the healing part of the menu there is a quick way to adjust the brush you can use your square bracket keys or you can use shift square bracket to change hardness or you can change that to anything you like so if you go to the Edit menu and edit keyboard shortcuts and just type in heal for example you can see draw healing masks if we type in brush then we've got brush size hardness and so on and so forth so you can just add a shortcut key to whatever you choose for those cool alrighty let's see now remember if we're in the webinar room put your questions in the Q&A tab because they're probably get missed in the chat all right let's go so let's see what we ended up with on Emily's lovely shot so we had this is how we ended up with it if we put them before and after nice subtle edits just a little lift of brightness so not to bring up the shadows too much fixed our crinkly background and I'll split on our background and did a separate layer just for the hair which bumped up the contrast a little bit so that was this layer here as you can see whether it matches what we did this morning and yesterday is probably highly unlikely so that's a little bit warmer I think that was yesterday and this was this morning that's kind of somewhere in between the two so you can vote whether you prefer it warm or cold but you can go either way of course okay let's go to the next shot see where we can go all right so let's take this guy now because this is interesting because now you can dig into the skin tone tool a little bit that's the edit that we did earlier today and this is as it is out of camera this is a shot from Russell ort in Australia of Neve by the looks of it so Russell shoots with Fuji and this is under GFX 100 so when we zoom to 100% we're going to get blistering resolutions I'll probably have to zoom out a bit when we're working on this shot just so you can see what's going on but this shot is really useful for seeing how the skin tone to it works because like all of us especially me we have always variations in our skin tone color especially if we don't have makeup on of course makeup will often remove a lot of those variations but they can still often be a difference between say skin tone on the face to skin tone on hands other body parts and so on especially if your body temperature is cold then you'll see a difference in skin tone color and against the face so sometimes it's good to normalize or equalize those different skin tones in the case of Neve here he's got like a little change in skin tone here a little bit on his nose and some under the eyes and a little bit on his head and so on now the whole purpose of the skin tone tool is to use it with obviously respect and and a balance to what you actually want to achieve because the skin tone tool could completely unifier skintone so it's absolutely the same over someone's face but maybe that's not necessarily very sympathetic or really what we want to achieve but fortunately there's loads of ways we can moderate the impact in the effect of the skintone tool so first of all for our boy Nev here what we're going to do is I mean it's pretty good out camera if you delivered that I'm sure you'd be delighted so again I'm just gonna raise up the brightness the touch now if you pull the brightness a lot you'll see it having most of the effect kind of in the mid-tones which is great because I like the dark background as you can see exposure if we pull that up it has a far more reaching effect into the background because it's going to affect all the tones at the same rate so let's just pull up the brightness a tiny bit and then I'm gonna pull down the blacks ever so slightly and that's just gonna darken the background a bit now in terms of dodging and burning we might do a little bit just to lift out the hairline ever so slightly but I want a bit more contrast so I'm gonna bring that back down and maybe not so much brightness okay now to whoa 100% now to the skin tone tool now when we use the skin tone tool it's kind of best if you work with it on a layer because as I said you can decide really one way you want the effect and you can use the opacity slider in the layers tool to moderate really its impact again and when we create our masks we can modify it once more so you can really build the perfect correction so first of all we're going to make a new field layer and we're going to call this skin tone now the reason why it's filled and that means essentially a mask over the whole shop so anything we do is going to affect everything now at this point the reason for doing it that is so we can dial in our adjustments to an acceptable amount and really see what it's doing so let's move to the color tab and then I'm just going to collapse layers for a second so we've got more room on the skintone tool and we're gonna grab sorry first of all we're going to go to the skintone tab we're gonna grab our color picker and we're going to look on Neve it's going a bit closer and we're going to decide what is the target skintone so out of all the skin tones on his face which is the correct for one of a better word or which is the target skin tone that you want to adhere to so it's not his nose because it's kind of getting too red pink etc it's not down here I'm sort of thinking somewhere around here where it's got bit of a tan on and so on so I'm going to click that now straightaway we get a range which is marked in the solid line or cheese wedge for one of a better word and the dot in the middle that's the exact color tone that I clicked on so that is our target skin tone that's what we want everything to adhere to now the idea is in the skin tone tool I'm just gonna make this a bit wider when we use these three sliders under uniformity this is going to essentially take everything in this triangle so everything in my cheese wedge or triangle and transform it to the pick point so it's kind of like a net it's gonna catch all those colors and then transform it to that picked point so you'll see as I drag hue all the way across notice now that his skin tone has become uniform so tell-tale sign is his lips of course if we go back to zero then that drains the color out of his lips like so but it has a positive benefit on his nose and under his eyes and probably the bit down here on his neck but I am totally with you that to have it that much would obviously look completely unnatural so what we're going to do is dial in the hue to where we think is sort of a good compromise and we can probably go further than we think is necessary saturation will do the same thing that would just be even out of the saturation but in this case it doesn't have much effect lightness we've got to be a bit careful of that will flatten out any sort of nice lighting that you've got so lightness I'm barely gonna touch and we're going to leave hue around there now right now that's affecting everything which we don't want because our mask was a field layer but it allowed us to see the exact effect of what the skin tone tool was going to do so what we need to do now or before that if you're not happy with your target skin tone and this will give you really an idea of what this tool is doing you can pick up this dot and we can give Nev any sort of skin tone that we want so we can really create any old skin tone now as I've messed that up I'm just going to reset that and we do the exercise again so I'm going to pick around there let's expand this out just to catch as much as possible bring up our hue and then just a little bit that so now what we want to do is right click on our layer and get rid of that mask now the adjustments are going to stay there is just the mask that's gone so now we can grab our brush and paint in our skin tone correction I'm slouching our skin tone correction where we need it now this is the important bit let's zoom out this is where we want to introduce flow right now when we did our hair layer on the last photo of emily's that was flow set to 100 so that was just a big solid mask if you like and you didn't have to be there accurate and I wanted the same effect over the whole area now what we want to do with Neve here is that we want to bring the flow right down and that's effectively slowing the rate that the mask builds up so if you imagine a tin of paint and this is my paint brush if I let's say you're painting a wall if you dip your paintbrush in and then you immediately go and paint the wall it's going to run and the paint's going to be really thick and you've kind of covered everything in one stroke now if you dip your paintbrush in and then kind of wiped some of the paint off and dry it off a little bit and then paint on the wall chances are you uncover everything it's going to be thinner and so on so flow is a similar principle like how much paint do you want on your brush so if we turn flow right down let's say just a five I'm going to make this a bit bigger now we can brush and then that will slowly brush in the effect of my skin tone correction and then I can stop when I think it looks kind of about right so now if we go over to his eyes make this a bit smaller and then just do a few strokes and around here now it won't look like much is changing because it's going to be subtle but you'll see it when we do a little before and after so under here we can take that away as well and just a bit in there and then we did his nose chin was kind of not too bad really but we could do a few brushes around here and then the tell-tale bit which was a bit more obvious was kind of just under here so I'm going to brush away like so and then gradually that difference in color tone will fade away as you can see so now if we bring up just think nose is alright if we bring up the before and after and then just go across if you look at his nose that's before and then that's after like so and if you look at his eye up here before and after as well so it's just taking some of that colour tin out now if we turn the skin tone layer off then you can see before and after as well now the good thing is again if you think that you've gone too far then you can also grab a pasty and just lessen the effect as well so you've got loads of scope with flow you've got loads of scope with the opacity and so on now if you really want to see what your mask is doing if we press M you can see the mask in red where we've painted it in oh we didn't do his head did we so let's just do a little bit up here press em to hide my mask I might bring this down a bit more so in just even out that skin tone as well now there's nothing to stop you doing you doing this across a couple of layers so if their skin tone is varying anyway and you wanted to kind of match one area to another then you could just do another so skin tone face skin tone on skin tone forehead or whatever so if we turn skin tone off and back on or we use before and after then you can see the difference that we've made and what I was gonna say if you really want to see what your mask is doing have a look at the mask in greyscale so over here in the layers tool if we say display grayscale mask that will show you the mask in levels of grey so white is where the correction is at its maximum black is no correction and then gray is obviously any step in between so if i zoom out a bit we can kind of see our littler cartoon never there with the various changes of the mask but by using it in that way you can do a skin tone correction and keep some you know subtlety or at least a bit of natural look as well like the sort of fast way to do it would be just a draw a mask for pasty all-over nevers face here and then throwing the skin tone correction but it doesn't give you any flexibility so that's that's the way to do it we're not quite done but let's just have a look at a couple of questions if several layers with similar masks bob is asking how can you avoid inadvertently changing the mask anchor point well it's based on the layer that you have selected so even if you've got anchor points around I don't think you can pick them up or that was Bob asking I think you can turn off the selection points so if I say display selection points it won't actually there we go so you can see it on his nose but I always have that off and then I don't find them useful or anything like that so I just select my various different layers let's see I won't be able to answer your questions I'm afraid but Andre and Diego or sorry Andres doing a grand job as well good point about welcome you might have seen that I'm using a pen and how big of a Wacom should I buy Pedro was asking it depends what you're doing I think if you're an illustrator big is best as we say I think if you're using capture one then you don't necessarily need an enormous tablet because the bigger the tablet the more sort of what's the word I'm looking for exaggerated your movements will have to be so I have what is now classed as a medium I would think I can't see what it's an older model but I think it's roughly equivalent of a medium now not a small and that covers to 27 inch monitors absolutely fine I would not want any more resolutions I think my shoulder would start to her so I think if you were doing drawings big is good capture one I'm sure small is fine as well let's just check on YouTube and Facebook you Leah's doing a great job over there so I think she's kind of pretty much covering your skin tone this is a good question so I've seen a few of you ask that when you select the target skin tone is it a point or an average of multiple pixels it's an average of pixels now it depends on your zoom level so if we if we're zoomed out heavily then it's not going to use one pixel because it would dance all over the place when you zoom in then that range will narrow slightly again because you don't want too much of a pixel range so based on the zoom level then it is slightly dynamic and works pretty good as well alright last question I think we shall find mmm Peter said I've watched early webinars where you've masked the entire face first and then erased eyes and mouth you can do that but I think the method that I showed you gives you a better end result with more flexibility so that's what I would go with alrighty so last thing we want to do with Neve here is a couple of things we want to make a kind of bump up the detail the opposite of what we did with Emily's shot where we kind of went negative clarity I would like to do the opposite and do positive and get a bit more sharpness structure and so on so if we make a new layout we're going to call this details and I'm going to use a radial mask because Neb shape is face shape is kind of pretty easy to do on here so radial mask is this cursor here so I'm going to make something sort of like this and maybe feather it a bit more and so on now it might be a bit on the large side but we can always dynamically adjust it so now we've got this radial mask but by default it'll be on the outside and I want it on the neves face so I'm going to right click and say invert mask and that will flip it around like so so now we've got a mask just kind of sitting where I want it but if I want to adjust it as long as I've got the radial cursor tool selected I can always go back in and tweak it a little bit more as well so now I've got that what I want to do here the opposite of what we did to Emily's shot so I want to add a bit more clarity not too much because that looks sort of like he's been out in the Australian Sun too much but a bit more clarity and if i zoom in to 100% we can add in a little bit of structure as well the gfx 100 can definitely take it because there's so much fine pixel detail structure we'll just add a little bit of definition and I saw a question earlier and I can't remember your name sorry asking what is clarity in structure clarity is essentially a contrast adjustment it's focused on the mid-tones so it doesn't affect the shadows and it doesn't affect the highlights so you can push clarity quite hard without ruining your shadows and highlights structure will enhance edge definition so edge definition or Neve is kind of skin pores hairs and all that kind of stuff so if we whack up structure a lot then you can see it starts to get ugly now because the GFX has such fine detail and resolution you can actually push it quite hard now if we had a camera you know an older camera which wasn't as sharp structure will not help you suddenly magic magically make something sharp but it's great for just adding a little bit of extra acute ins as we say so if I turn details off and back on then you can see what it's doing like so now regarding dodging and burning that popped up earlier with our adjustment that we did on the background with the blacks if I click and hold on blacks we're losing his hair a little bit so just kind of want to brighten just around the edge like a bit of a bit of a halo so how are we going to do that good question so I'm going to make a new field adjustment layer so again that's over the whole shot and what adjustments can we use that would just brighten up this area a bit now it's going to affect the whole shot but I'm really just looking about what's going to affect this area better so if we zoom in a touch so we can see easier and I'm gonna guess that lifting up the blacks is going to help that's probably it really and maybe brightness not so much because it's kind of centered in darker areas so maybe the shadows a bit as well so if we turn this layer on and off you can see what that's doing to his hairline but I don't it to be that strong I just want a little bit around the edge so again if we right click and say clear mask grab our brush nice super low flow once more and Adeline said earlier oh it doesn't go 2-0 he thought flow could go 2-0 but it doesn't it goes to one so maybe that's something we've fixed done so now with a nice low flow this is essential essentially we are dodging back in just a bit of brightness in this area so as I kind of brush around it will gradually brighten that spot but as the flow is nice and low it's subtle so now if we turn this adjustment layer off we can see before and after again if I thought you know what that's too much we could just knock this back a bit with the opacity slider okay so let's look at Neve fullscreen let's put on before and after so as I said it was pretty good out of camera so really what we've done is just finessing what was already a nice shot so we evened up the skin tones a bit let's go in to 100% ish so we can see so we evened up the skin tones a bit just around his nose and eyes really and that kind of telltale bit just under his neck so it was a bit more even and then we added our details just around the face and lifted that a bit and counteracted the sort of darkening of the background by just lifting up his hairline a little bit as well so before and after so that was a Dodge not a burn but you can apply that same principle for any set of tools so on this adjustment layer which is is hair that was a bit of black and a bit of shadow so don't get stuck into the fact that dodging burn just has to be exposure it could be any set of tools you could make yourself a sharpening brush or noise reduction brush or anything it's perfect Michael was asking when would you adjust the smoothness in the skin tone panel very rarely actually so if we go to and let's just collapse that if we go to the skin tone tool and we're on the right layer don't know yes smoothness relates to the fall-off so the hard line is the range so this is our color range the smoothness relate to how it falls off into neighboring colors now by default this is 25 which gives you a really nice kind of smooth roll off to avoid posterization if it was set to kind of one then you might start to see kind of hard edges where differences in the skin tone that fall out of that range will then become very obvious so I would say it's very rare you even need to adjust that so don't think that's the slider you really need to attack much Michael let's see will this livestream be on YouTube later yes it is currently going to YouTube and being recorded as we speak so you can watch it there immediately just checking you Leo's doing a great job on YouTube so we don't need to answer anything they're really good ok good point from rebbe I use curves for DMV which is a great tip because you can really create the kinds of density that you want to put in so if on this layer instead of using these tools we would use a curve you could decide on your curve exactly what you want it to affect you want it to affect the shadows the mid-tones and the highlights or do you want it to affect everything it's a really nice way to dodge and burn as well so a great tip from Rabi alright let's move on to the next one and let's see what's going ok let's bring up my browser let's just hide my tools for a second let's go to a more editorial style back to Emily hide the browser just close the curve for a second and see what we can do with this now with this one what I thought would be more interesting was to play around a little bit with color grading so we haven't done any of that yet this is more kind of being a bit flexible with the title of the webinar here this is less of a portrait more of an editorial shot but it's still kind of the portrait but there's a couple of tech techniques in there which think is good for all of us to know as well so first of all with this shot I'm gonna rotate it a tiny bit so I'm gonna go to my rotation and flip tool and just shift shift down cursor arrow and that would just move it in point one increments to he's standing a bit straighter and I'm also going to use the Keystone tool because this fence is kind of leaning in a bit and just change the Keystone a little bit now I wouldn't go too far because obviously that doesn't look very natural but just bringing it up a bit kind of elongates him slightly and changes that perspective of the fence a little bit as well so if we see before and after it's just made him a little bit taller and so on and it's not much just a little bit let's grab our crop I just want to go in a bit tighter like so and then see what we can do and actually I think I've rotated too much so I'm going to push him back that way a bit all right first of all white balance wise it's a bit warm for my liking now I'm going into this thinking that I'm going to color grade it anyway so maybe I don't have to worry about white balance too much but it is a little bit off so I'm just gonna take it down a few points just to call it slightly so his t-shirt is kind of a bit more neutral or even to the colder point now exposure generally is a little bit down so his t-shirt I don't really want to get any brighter so again it's probably a case of lifting up the brightness a bit because we want to keep that separation between t-shirt and sky we don't not to blend into each other because then it's harder to really see what's going on for him so brightness up a little bit looking at our levels tool we've got an absence of data here so I'm going to hit Auto in levels and that would just set the shadow and highlight points that would just give us a slightly less flat shot and a bit more contrast you don't have to do that but you can see the difference by moving it across and you can watch the histogram at the top essentially you're pinching either end of the tonal range and stretching it out so we get that nice spread from shadow to highlights so again you can either hit Auto or you can manually set it where you want and we're still getting a separation in between t-shirt and background which is important what else was I gonna do with this shot I can't remember how I edited this let's just refresh my memory Oh quite a lot of different stuff what was the adjustment layer for that was oh that was just to bring up his face a little bit I think this one I wouldn't worry too much about skin tone because it's all kind of fairly even it and its editorial shot so we're not looking up close or really sort of examining those kinds of things his face is kind of a bit doc ever so slightly so I just want to lift his face a little bit more now I do this in a slightly more quick and dirty way because I know I will still get a good result so I'm going to grab a brush go over to him make sure flow is on 100 and just bring that down a bit and just do a pretty rough mask on his face and t-shirt like so now it's not super accurate which is often a misconception that everything has to be super tight with you know very hard edge brush or anything like that but it depends a lot on the adjustment that you're going to do so let's just call this face his face is sitting a little bit in shadow so I just want to open it up a bit more now if I used exposure then as my mask is a bit mucky it would kind of brighten up where I've got some overspill as well just around the edges but as I'm going to use brightness that's only going to affect the mid-tones and my highlights are going to be unchanged so even if I push brightness a lot notice that it's his skin tone is changing more than my overspill areas but I only really want to go to sort of that much like so and if we turn that on and off you can see the effect it has now on this side of his face that's sitting in a bit more shadow so if I want to brighten this side more than the other side we could have done what I did before by reducing flow and then kind of giving more of the effect on this side to the right-hand side but I'm willing to bet if I bring up the shadows a bit you see how that's only affecting the darker side and really not doing anything here so with a little lift of the shadows we can bring that up and again it's not going to affect my overspray because you see there's a little bit of mask here and here that's not going to be affected because it's not a shadow tone so it's almost like we've got a perfect sort of mask anyway based on the kind of sliders that we're using so let's zoom out and see what we did there looks pretty good maybe too bright so as that's a combination of sliders I can just bring the opacity down to where I think it's about right great let's have a little play with color grading this one actually first of all if we look at his jeans they're kind of slipping into a bit too much darkness because I'd probably if we were editing this I want this a bit contrast here but at the expense of losing his jeans these are if we look at the RGB numbers you see these are right at the end of the histogram and if you look at the little line that's dancing around on the histogram you see his jeans really are that first peak because that's the darkest part of the shot so if I want to brighten these up a bit no need to bother with dodging burning or anything fancy like that I would open up the black so if we push this aggressively you can see it's pretty much targeted to that zone so I just want a little bit more detail back in there so I'll bring that up but I'm still getting a benefit of extra contrast as you can see as well and we still got separation around the shoulders so I'm pretty happy with that just as we messed around with exposure a bit just want to check the levels so I'm going to bring that back out don't a clip any data just to be on the safe side okay where are we so far so if we hit before and after before after so cooler and so on now this one is going to be a fun one to color grade so I'm going to make a new field adjustment layer and we call this color great now for color grading a convenient tool to use is the color balance tool let's close our color editor make this guy a bit smaller is the color balance too why because it's very simple to use and all of you can kind of figure out how to use it in about 60 seconds flat so it's very very simple to use to use it as I said any of you can figure this out you've got a master tab which essentially affects the whole shot so if I just grab the little circle in the center and push it anywhere this will apply tint over the whole shot now to reset it just double tap anywhere and the reason why we're doing this on a field layer again it's like a mask over the whole shot is that as well as the color balance tool we can introduce other adjustments as well like saturation which we do in a second so as well as the master tab you've got a three-way tab which has split the photo up into shadows mid-tones and highlights so if I just massively pull this in one direction you can see it's only affecting the shadows and it rolls off really nicely into the mid-tones and the mid-tones rolls off really nicely in the highlights now if you're not sure where to start with the color balance tool there's a few handy presets up here which you'll just move the little points around to something until you think what looks interesting so I quite like the look of purple punch and all that's done is set a few adjustments like so so that's just some free built-in presets so you can explore what color grading does we also sell a styles pack called spectrum which is purely based on color grading and also uses the color editor too so if you're interested in color grading that's a really good pack to look at as well now what you might notice is that as well as the color wheels it's also changed this slider on the right-hand side so this is like a luminosity change for that that area now that if I reset this and bring up purple punch again what's that's done is almost sort of counteracted what I wanted to do with seeing a bit more detail here so what I might do is just open this up a little bit so we don't lose that detail and the good thing is about having your color grading on a layer is that we can turn it off and on and then we can see what it's doing and there's an additional thing I'd like more muted tones so I'm going to bring the saturation down we could go black and white but I'm going to go in between so we've got a look like that and once again if you think you know what I've sent this a little bit too hard as we say you can bring the opacity down to go anywhere between your full color grade and something different so you've always got that opacity slider as well something that's annoying me on this shot is this kind of cable so we're going to grab our Healing Brush make this a bit bigger and we're just gonna draw along here see what capture one does now it's just picked a point here I just want to move that across a bit because it was just kind of picking out a bit of his gene as well now in actual fact I think I've probably gone slightly too far so we're not too bad so if I grab my eraser with a hard edge make it a bit smaller than I can just take out this spot there we go looks a bit more believable doesn't it so going back to Steve's question again healing is on a separate layer because all the color grading exposure adjustments you name it then follows through with it so I never have to redo that healing point again little change of the cropped bit too tall for me just thinking and there we go so before and after before and after tool won't show composition changes so that's how it came out of camera and that's how with our tweaks with our layers we had face which was conveniently done with the aid of a few clever sliders and it caalso color grade as well like so now if you want to see it true before and after what we can do is make a new variant so that will give us a virtual copy of the shop like so and then we can put this guy and this guy side-by-side so before on the right you can probably guess and after on the left hand side okay let's have a look at some questions let's see reading reading reading good question from LS but I don't know the answer so what's the most convenient way of composing different adjustments to various different skin tones with the large group of people well I think the best way to do that is if you have you know a bunch of shots up on screen once you finish the shot then don't forget you can always edit and capture one in a multi View mode so if you're trying to tell a story of various different you know photos and things like if I just select everything then of course you can look through the bank of shots and just decide ok in this story this one is a little bit too dark so I'm going to brighten this one and so on so don't forget about the multi view mode it can be very very useful let's check questions in the webinar room we answered that question I think just talking to myself Bob says if you wanted Neve in monochrome would you convert first or after adjustment I would do it fairly early on in the process purely because adjustments to contrast and so on might not fit with your black and white adjustment but sometimes we can get lucky pretty good out of the bat but I would do my black and white conversion fairly early on in the process let's see in two options of that is there a way to know which crop has been applied to an image no it does not so you you can see the dimensions so the size of the crop based on the currently selected process recipe so you're gonna see a change there but you won't know the actual aspect ratio that's the word I was looking for so unfortunately not know but it's it's a good idea gabriele great question is there any way to copy from one image and paste to another skipping the cropping attribute that is the default behavior so if that's not happening for you you may well have changed something so in the adjustments clipboard if I hit copy so right now you can see it's copying composition crop everything so let's deselect everything so if you're going to auto select and say adjusted except composition then it will do everything that you desire Gabriele's so now if I say copy it's copied everything except for composition is left blank so in the adjustments clipboard tool just look for auto select that's the default behavior so you may well have changed it or you could be running a much older version of capture one that doesn't have that option I think we added it in possibly capture 112 I think or maybe it was 20 I don't remember if you're not in 20 now's a good time to buy as it's 25% off currently at the moment if you look at the top if you're in the webinar room there's a discount code for anyone else watching and to take 25 off at the checkout so now's a good time to buy if you're not in capture on 12 but that's the way to do it Gabrielle okay let's how we doing for time wow I'm much lower this morning so we've done three we've done emily's to Emily's and we've done Russell Lord's shot here so let's see if we can squeeze one more in quickly and then we'll have a look at the last couple where we can just see quick before and afters okay so let's take Alex's shot I think this is already edited so let's make a new variant so we're back to square one again this shot doesn't take much but it's it's a good example of what the black slider can do if you want to bump up contrast but not mess up your highlights so first of all we're going to grab a crop and we're just gonna crop a bit tighter like so a quick tip if you are cropping to a specific aspect ratio right click with your mouse or pen then that brings you up a little quick view of the crop tool so if I thought you know what this needs to be 2 by 3 right click and then you can pick your aspect ratio straightaway so it's just like a really fast way to view cropping options so there's our crop someone asked if these were actual real classes and they are because you can cleverly someone said look you can see the distortion of that of her skin there so Alex my colleague you shot this just lit it particularly well and there's no glare whatsoever on a glasses so good job Alex first of all for this one exposure is kind of okay but maybe a little on the dark side so again I'm just going to lift up the brightness ever so slightly and add a bit of contrast but I only go to hard with the contrast because now this does not look good so let's reset the double click to reset the contrast but what we can do is take our black slider if I pull this down this works really nice on this shot because it just brings down those those darker tones obviously I wouldn't go that far but it brings down those darker tones gives the contrast a nice little boost but without affecting those highlights at all and we could probably bring shadows down and touch as well this eye is kind of slightly darker than this eye by a tiny amount so if I wanted to quickly brighten this up would do I wouldn't just draw a mask here and draw a mask there because I want to kind of balance the two eyes if you like so I would start with a field adjustment layer so that's over the holeshot and then let's go for a contra member your name server who suggested using curves so we want to kind of bump up our shadow to mid-tones so I would use a luma curve because that will keep the color stable and then we could make a curve that looks something like that so that's just brightening up the area in our eyes like so so it's a specific curve just for that tonal range so now let's make sure we call this eyeballs and right click and say clear mask and now we can grab our brush make it nice and soft nice low flow cuz now I can just brush in here and brighten this up and then this one will probably need less kind of doing the weird distance look away from the monitor just hide the browser so that's a little touch there and then if you wanted to do more in there whites of the eyes then we could just make our brush smaller and lighten that up a touch as well so if we look at our grayscale mask now you saw it's ever so slightly brighter in the middle this one is little bit brighter than than the right hand side so that allowed us to balance it quite nicely again if it's too much we could bring our pasty down so I'd say somewhere around there is kind of nice so that's also a good use of picking up flow as well so if we turn this on and off we can see the difference so it's subtle but that's what it's all about like so so again a really good example of where flow is useful and if you've gone too far on one particular side then you could use your eraser brush also on the low flow just to knock it back okay a couple of other things I found the holes in a sweater here kind of a bit distracting maybe that sounds weird but as there was kind of three in a group I just thought that it kind of stood out a bit too much so in this way it was just a simple way to get rid of them and we can use exactly the same hero Laird just to do a few little bits and pieces here as well if you don't like these arrows popping up I find them useful because then I can always keep an eye on where the source point is but if you right-click you can turn them off you can also set that on a shortcut so if you want to quickly be able to turn those arrows on and off then make yourself a shortcut for that as well now this is shot on a sixty megapixel camera so it's kind of unkind to like Nev with a hundred pixels and Sophie here is now battling with 16 megapixels so apologies to end Sophie you get the idea with a spotting well it's also nice for portraits is to apply if you feel like it some film gray so if we bring up the film green tool and just zoom in a bit all these film grain simulations are very much based on analog film seminars this morning which is the best analogue representation all of them are what you might find with other applications trying to emulate film grain is that simply it has just a scan of film grain kind of slapped on top of the picture but that's not really how film grain works in the real world depending on the underlying image whether it's shadows mid-tones highlights then the grain structure varies in its shape and density and so on so capture one will give you a really nice natural way to work with grain so I'm going to go for some cubic grain impact is really like an opacity slider so how obvious is the grain compared to the shot and granularity you can probably guess is how grainy it is but it gives us a lovely super nice grain pattern as you can see so if I just temporarily reset this before and after just looks you know wonderful it's the closest film grain representation you can get and I can say that confidently as well so if we turn them before and after as before and after let's zoom out a little bit as you can see so that's what we did again not a huge amount but just little subtle tweaks now it did come up I love the look of the film grain or it does come up but I don't want to put it on my raw file because I'm going to round-trip to photoshop and do retouching liquify you know more extensive retouching that that you wouldn't do in capture one and so on no problem because there's no reason why you can't grab a tiff file so here's one from good friend of the house Brandi Nicole self-portrait so this is her finalized TIFF there is the outer camera nickel so pretty much close to how it came out camera a bit less contrast and so on gone into Photoshop done what she needs to do there's no reason why we can't also put let's go for tabular green no reason why we can't also put green on a tiff file works just as well so just consider that if you're round-tripping from capture one to photoshop or affinity photo something like that then there's no reason why you can't do so okay how are we doing for time out of time almost so unfortunately can't quite get to the last shot but just to give you an idea this is from michelle khan up that's actually another self-portrait we've been doing a lot of portraits over instagram over the past couple of weeks and featuring your photos what did i do for this shot let's just run through the layers again if you don't like name your lace you've got no idea what they're doing so adjustment layer number one that appears to be a radial mask i think yeah it's a radial mask which is dynamic so we can always adjust it and that's just got a correction on the helps if you're on the right toolss at David reducing the blacks just so we get a nice rich dark background and bringing the brightness down as well so if we turn that layer on and off you can see it's quite a dramatic adjustment but I thought this looked sort of Hollywood spotlight kind of looks I just wanted to isolate Michelle and then this layer what's this one doing again always name your layers if we look at our grayscale we can see it's just a how that was it was just dodge so just to lift the exposure a little bit just around the face and you can see it's more subtle on the face and a little bit more on the hair because my radial mask kind of took too much out of the background so that just lightens up those areas a little bit like so and then obviously it's in black and white and also I put some green on this one as well so if we look at the grain a nice chunky bit of tabular grain so once again using similar techniques to what we did before but this time with the black and white conversion and then dodging and burning and so on cool all right so let's finish by having a look at the last few questions brain died again then sorry let's see I find Lena was saying I find that black and white images done with film always look better to me than black and white done via post-production on a digital image is that something in capture one can make a more genuine black-and-white look I think the black and white tools work great in capture one so it's not just a simple convert to black and white or you can see Michelle in color actually looks really nice and color as well but you can see in the black and white here you've got the ability to adjust the different tonal ranges too so obviously with the Reds that's going to affect the skin tone Michelle's hair and so on so you've got a whole Bank of adjustment there you've also got curves clarity structure so I personally think you can do a really nice job of converting to black and white in capture one but just give it try let's just scroll up a little bit sorry if we didn't get to all of your questions there is lots of you today but don't forget you know this is not your only resource of capture one we've got the learning hub learned capture one comm we've got the YouTube channel everything is nicely categorized so Oliver if you want to know about process recipes I would watch the five minute tutorial on that and that should sort you out as well can you have different brush characteristics in the same layer yeah absolutely so again if we look at the layer here for example so if we just grab our brush let's just turn off the mask so if we grab our brush then i can just merrily adjust flow size hardness opacity over the same layer so again looking at the gray scale you can see flow is relatively low here I must have brushed a bit more there to have more of that effect and then the halo on the hair is kind of more here compared to there so you can mess around with your brush two heart's content really if you think of the concept of layers it's just you're creating a mask which can be built in a whole range of different ways with the brush with a radial mask with the linear with luminosity with the collar edits it can make you a mask and then it's those adjustments put on that mask as well so let's just bring up our stars of the day just to put them on the screen here look we can do a multiple before and after so you can see just set that like that as we look at some more questions so yes Allen you definitely can yeah Anthony you can change tones and black and white with white balance you can use the color balance tool as well there's just there's so many different ways you can manipulate black and white that you should be able to get yourself a very nice result I'm just scrolling up through the future Ella says how do we submit photos for future webinars occasionally we do a webinar where we take your shots and we haven't done one of those for a while so we could easily do that again these photos are just kind of from friends of the house that I've begged borrowed and stolen as well Charlie that kind of happens automatically to have a grain style which you can change the grain size based on highlight shadow so yes you can't control that yourself but there is some of that underlying work going on in capture one too which just makes the grain look nice and natural alright let's pick two more questions and let's see that was a very long question so I don't have time to read that Kim was asking does the code work or monthly or for outright check on the website it does tell you exactly what the code is applicable for ken is talking about the take 25 off code I can't remember myself but maybe one of my colleagues can step in and let us know it as well there we go reg s has done it for us tape 25 off but the website will tell you how it works for a subscription or the outright price - okay I think that kind of wraps everything up for today this was going straight to YouTube so it will be on there to watch at your leisure as soon as we stop this transmission and don't forget to sign up for future webinars there probably isn't any showing on the learning hub right now that's where we always post our webinars but there will be more coming up over the summer as well so let's see here we go and also a couple of quick lives next week - and you can always keep an eye on our Facebook page for events that are coming up as well all right thanks for joining us again today I hope that was useful thanks to Emily Teague for her photos and Russell Lord in Australia for his photo Alex my colleague in Copenhagen for his photo and it calls Michelle here for her selfie as well so thanks to everyone for contributing and take care have a great rest of Thursday and see you soon bye now you

Channel: Capture One Pro

Views: 32,131

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Id: P4WVNEuNt-0

Length: 85min 25sec (5125 seconds)

Published: Thu Jul 23 2020