Capture One 20 Live : Know-how | Improve your tethered workflow

good afternoon everyone this is just a soundcheck for my benefit so feel free to ignore and I'll see you in just under 10 minutes take care you good morning or good afternoon everyone welcome to today's webinar which is all about tethered shooting so thanks for joining today as we're in the afternoon or at least where I am we're going out to the webinar and YouTube and Facebook so welcome to everybody regardless of which channel you're on today so as I said today everything is all about tethered shooting so we're going to go through essentially a whole set up and shoot process now this was one of those webinars that I had grander plans for to do in a proper studio and kind of go on the road but due to the situation we're in we are using the set up behind me which you can just see over my shoulder so you're not going to learn any amazing photographic tips today but you are going to learn just how to set up capture one in a super efficient way automate a lot of things so that the process becomes much faster every time you next need to shoot and just take some of the manual labor out of those processes and just be more efficient and have a look at all the various different features that you can take care of when you're shooting tethered a couple of things just to mention so we have 60 minutes today the maximum I think maybe a slight lie just because we have quite a few things to go over and they'd probably be more questions on the various different channels if you want to ask questions in the webinar room then please use the Q&A tab as that just separates them out from the main chat and for those of you listening in on YouTube and Facebook feel free to put your comments and questions on those channels too as I can see them as well so let us begin okay so the first thing that we need to talk about is what do I need shoot of it actually let's not worry about coach home for a second to shoot tethered do you need one of these which is a cable and that's pretty much it really in terms of compatibility models from Canon Nikon Sony and Fuji you can shoot tethered with there are some subtle differences between those models which I'll kind of pick up on as we go through but all of those cameras need a USB cable to be able to shoot tethered a couple of things to bear in mind really for a good reliable connection is length of the cable now you can buy extremely long cables out there but sometimes they kind of go outside of the USB recommendations and that can lead to you know drop-offs connection going slow transfer speed all of those kinds of things so any issues that you have in terms of maintaining a connection is normally down to this guy regardless of what you do if you're still struggling to get a good connection then it could be that your computer is just not giving enough power over the USB cord and the cheapest thing to invest in then is a powered USB hub or of course tether tilt tools also maker products that also boost the USB signal and this is also a tether tools cable now another thing to keep in mind is how to secure the cable at either end USB connections are not super well engineered to be honest they don't go that far into the camera they're not mega secure USB see is probably the best thing but some of the older USB connections are not great so I've got a Canon 5d Mark 3 just sitting over my shoulder if you can see it not quite and that has USB 2 and it's really not the super wholesome connection but one thing I can recommend and what I've got actually on the bottom of the camera behind me is one of these a little tether block also from tether tools which just secures the cable in place now the only caveat with this if you're clumsy and you trip over the cable then you could bring the whole lock down so there anything you can do to kind of take the strain off that connection and there's a bunch of various other products out there that's just one example definitely helps Antony and a couple of others were asking have you tried the wireless from tether tools I haven't personally I know a bunch of people who have it's working good for them but just have a look on tether tools pages for compatibility with operating systems and so on and give it a whirl but it's not professionally supported or at least wireless direct to capture one isn't officially supported but there is the tether tools solution okay so that was a little note about setup procedures the only other thing you really have to check in capture one if you go to your preferences and to the capture tab just check your provider is ticked on now you don't have to turn off the others there's no conflicts or issues or anything like that just make sure your provider is checked on so checklist is good quality cable make sure it's not too long if you have any issues with connections dropping out shorter cable or use a powered USB solution and I can confidently say you're not really gonna have any issues with that okay I've got bunch of notes so I just want to make sure I don't miss you miss anything so let's move on to Kay or we are now in our theoretical studio and we want to get setup ready for us you and the goal for today is to try and do as much as possible that's repeatable and automatic so that you don't pick mistakes as a human being and to make your process more efficient so I'm going to close this catalog down and we're gonna say file new session now sessions work particularly well for shooting tethered the reasons for that is that everything is encapsulated into one folder so it makes it very easy to backup and move around and for a bunch of other kind of workflow reasons which I hope you'll pick up as we go further along so we're going to call this I'm actually shooting I don't know if you can see it just kind of over there there's like a little yogurt fruit cup kind of thing so let's say this is for theoretically for fruit magazine now pay attention to what you call you your session because we're going to incorporate the session name into our naming convention for the shots so this part is important if you're going to follow my suggestions because this way part of our session name becomes the file name so that's an easy way to link the two together so I'm going to say ok and we've got our brand new session for fruit magazine so if I right click up here and grab this folder you can see what's created now if you're completely new to the capture one session concept super simple it's literally a file management system designed initially for tethered shooting which is why it works so well you don't have to use it for tethered shooting if you want to know more about sessions you can watch a webinar a couple of weeks ago which was really dug into session workflow but in particular we're going to optimize it here for a tethered shoot now the default session structure has four folders capture output selects and trash and the idea is when we shoot to go into the capture folder when we process to our final formats they go to the output folder we can use a select folder as a way to determine which are the best shots and anything we delete goes into the trash the great thing is it's all in one singular folder so as I said it's easy to backup and we have a little look at a backup solution at the end as well which just makes the whole process very simple okay now I want to optimize this session a bit more so before we start shooting I'm going to build out some extra capture folders and again this is something we can automate in the future so you don't have to ever do this again so I'm going to make a new folder in here in my finder and we're gonna call this lighting test or lighting setup just a place where we can put all the kind of crappy shots which aren't going to interfere with our actual shots to get our lighting composition all in correctly as well oh look there's someone from tether tools let's say hi tether tools everyone have thanks for joining and to continue on from this I'm going to make another shot and we're going to call this shot one like so and then we're also going now going to call this shot too now you could add more and more folders if you want but today obviously for our time constraint I'm just going to do two slightly different shots now right now if we go to our first tool tab and we look at our finder we can see that the folder structure here is mimicked in the first tool tab of the library so capture selects output and Rush simple as that now right now capture one is not aware that these folders exist and I want to use them so to make capture unaware that these folders exist I want to drag and drop them to say session favorites it's very difficult to say haven't been drinking a promise so now how capture one is aware that these folders exist so it means I can chop and change by shooting into these different folders now next thing I want to do before we start shooting is do something clever with our naming convention so we're going to automate this as well so as we advance through doing our different shots we don't have to worry about remembering to rename or anything like that again taking the human error out of the equation so you can get on and work nicely so going to our first tool tab this is the tethered tool tab all captured or tab where everything is related to to tethered capture so I'm going to bring out the next capture naming tool so you can see a bit easier and look at what the format is here now this is the default format which for me isn't particularly helpful I saw a question from Ken earlier asking about this file extension we just use a sample file extension so it doesn't matter if it's a IQ or TIFF that only relates to phase one cameras when we actually start shooting we're going to use the file extension that comes from the camera so it's kind of null and void if you like so I'm going to change this naming convention so we're going to click in this little box here and this allows me to change my naming format which uses a bunch of different tokens so let's get rid of these and what a token is these gray bars they relate to some metadata aspect of the camera or some part of capture one which we can use to build out a naming convention so the first one I'm going to pull out is a strange one called document name which is the name of our session which is why I said it was important earlier to name your session smartly or correctly so we can use that as part of our naming convention next thing I'm going to pull out is collection name so collection name that's the name of my lighting test shot one shot two shot three shot four and so on and so forth so that's going to become part of our shot name too and to make them unique we also need a counter now by default it's a one-digit counter which is not very useful so I'm going to change it to a four-digit counter which should be more than enough and underneath we can see a sample of that it's giving us now right now I don't have a collection selected so that's missing and can it still shows riq but again it's just an example so I'm going to put in between a little underscore and that's just gonna space it out a bit nicer and we're gonna say okay so that's my naming convention now if I go onto lighting test you see it's now built out that naming convention if I go to shot one shot to automatically changes so as we go through the demo then this is something I don't even have to think about because whatever collection I shoot in the naming convention is going to reflect that so at no point throughout the shoot I need to go back into this tool now again you might be thinking jeez this is a lot of setup but we're only going to do it once because we're going to save all of this as a preference which you can repeat on your next session okay couple of other things I'm going to do before we shoot we are going to shoot today don't worry let's put next caption aiming back and let's add a couple of session albums now I'm going to add some more smart albums which ticket which you're going to sort my pictures for me so first of all let's make a smart album and we're going to call this my first pics so when we're culling through the photos the kind of the shots that we're picking out first of all thinking and this is probably okay this is probably okay this is probably okay so I'm gonna do that by giving them a green tag so I'm going to put this in brackets oh I know what this smart album is doing so just a green tech now I can use a preset here which is going to be my little green tag preset here so for this smart album the color tag is green so this smart albums only going to show pictures that have a green tag on them if there's no green tag they don't show and this is over the whole session so this is regardless of what folder they are stored in so let's say okay and I'm gonna make another smart album and these are going to be my final picks is everything ever truly final but you get the idea so this is also going to be a green tag and it has a five-star rating now this is just a suggestion you don't have to follow this but it's just something I've kind of landed on so now our search criteria needs to be a bit different so the color tag is green and if we stick a plus the rating the star rating must equal 5 stars and all of this criteria must match so it can't just be a green tag or can't just be a 5 star it must be a combination of the two so let's say okay so now I've got these set up and ready to go as well my first picks and my final picks so that's a green tag and a green tag plus 5 star we're nearly ready to shoot now if I was to take a picture now it's my camera still all connected yes if I was to take a picture now what would happen is that it would drop into the capture folder so that's this one here it will go straight into that folder I don't want it to go into that I want it to go into the lighting test so how do I tell capture one excuse me how do I tell capture one to use lighting testers that capture folder very easy we just right click and say set as capture folder as soon as I do this a little camera icon pops up like so so I know that is the folder that I'm going to into if I go to my next caption naming you can see if we bring this out like I showed you earlier the very first shot that we're going to take is called fruit magazine lighting test number one perfect okay so we've got our session setup and again if you're thinking well that took a long time all of this is going to be a template so we won't have to do any of this the next time you set up okay I'm just checking a few questions on the list so we all said Ken why use document name versus job name in some cases some of the tokens do the same thing collection name versus destination folder name so collection name also works with albums and smart albums final what was it Travis final destination folder name will only work with the folder so that's kind of the dilemma nation but in my example both are working exactly the same way job name is different because you have to specify the name down here whereas if you use the document name it will pull the name from the session itself so minor difference but to be honest Travis if you used either you'd kind of end up with the same outcome but just be aware of of how they behave differently alright so we've done our lighting test so let's take a picture of my fantastic setup now to take a shot if we go into the camera tool the large button here if I take your shot then it's going to come straight into capture one as you can see now the camera tool is pretty intuitive obviously how it works anything that's lit up I can change so I can check my battery level indication here I've customized my toolbar by doing the right click and then dragging the battery icon up here so I can always keep an eye on my battery level which is very useful anything that's lit I can click on it and change the value and that just synchronizes with the camera a couple of different caveat swith differences between Canon Nikon Sony and so on on Canon and Nikon if I go into the aperture for example and I just closed that down a third of a stop and hit capture that works fine I can do that and if I go back here you'll see on Canon and Nikon you have a complete list of the available apertures for the given lens that it that is attached now if I was on Sony for example we can only tell the camera to go up or down so we can only say go up half a stop or down half a stop or up 1/3 or down the third depending what you've got set on the camera saying we shutter speed we can only say go faster go slower so this camera tool you might see some differences between the camera depending what manufacturer you're using now in the case of Canon it's a physical button that determines the exposure mode so unless I change it over here so if I go to aperture priority you can now see it says where are we a V on the camera like so if I go back to manual there we go now it will sync back to manual again so just be aware of those differences now if you're a Fuji shooter with a mechanical Fuji like an XT 3 xt 4 xt 2 something like that we cannot physically obviously override the mechanical dials and things so some of the functionality you can't do because there's no way we can tell the camera to ignore what set on the dials and do it from capture 1 unfortunately it's a limitation of the firm way if you have a GF X 100 which has the virtual dials then you can do that so there's a few other kind of various differences so just be aware on your camera why some things work on this and why some things don't alrighty so the next thing to do is obviously our white balance is off so I'm going to grab my grey cards and this will kind of introduce us handy gray card break up this will introduce us into how adjustments work for the next capture so if we take another shop and the gray card is here and we go like so and we click on here then obviously I've got my gray balance now we've dealt with next camera naming and next capture location now we come to next capture adjustments so the way it's set up in capture 1 by default is that whenever you make an adjustment to a photo it will carry over to the next one so if I do another shot then my white balance is going to carry over like so so you can see here was it unwiped balanced we made a white balance we took the next shot and now that carries over and that's really the most typical way to work with capture one or the most common way it's very rarely people use it in a very different way because generally we want a copy from last we want to shoot we want to make a little tweak we want to make an edit and then we want that to carry over to the next shots so if you want to change anything else you can do so in next capture adjustments you can add a style for example you can choose what you want to copy from the previous one and so on but 99% at the time we're wanting to kind of mimic this behavior so if I wanted to do further adjustments for example so let's just work in a bit more contrast let's have some clarity sorry other way let's have a little bit yet as I can't do it with lighting as we're limited here and let's just open up the blacks a tiny bit not too much just get a little bit more in there so now if I took another shot and a handy shortcut command or ctrl key on your keyboard and then that will just shoot and bring it in and you see applies those adjustments like so so a comment from Ken about Fujifilm that you can set it to auto it doesn't necessarily work in the same way that you would expect for Canon and Nikon and so on so by all means try but unless you're on like x100 it's not like that fluid interchange that's possible with Kenan the neck on I'm afraid but take on board can suggestion incubate it go so we've set up our session we've set up our folders we're dialing in our lighting the next thing that we might want to do is check on our focus so obviously after we shoot we can grab our pan tool and we can zoom in to 100% and check how it's going looks fairly good but what if we need to really critically focus and this is where Live View comes into play just chicken haven't missed anything on my notes no good so if you want to do live you click on the Live View button mirror pops up on the camera and then now we have live view on the screen now again what's available in Live View is going to be sort of slightly dependent on your camera model for example if I try and white balance on this one I can't so Canon doesn't let me unfortunately you might find it's different with nickel but the live view is super super super handy for dialing in focus and also various composition aspects as well so you can see here we've got camera focus with a bunch of different arrows here now this comes into its own when we zoom into a hundred percent and then we can see max detail on the camera now of course I can reach over to the camera and try to tweak my focus but because I'm on a macro lens then it's you know it's super wobbly I'm not on the most your laugh if you see the tripod I'm on so I'm not going to show you so it's not the most stable and of course if you want to make really critical focus it's kind of difficult and this is a fly-by-wire lens so it's sort of a bit annoying to use as well for tiny movements so what we can do is use these guys so these jogs are focused by a certain amount so if we click on right arrows then that does obviously a big focus adjustment going further behind if we click on this one that does a big focus adjustment coming nearer and two arrows is slightly smaller and one hour is a really fine adjustment so if I want to nail my focus on head blueberry here then we can tweak just very carefully now with canonical models I can zoom in and out of the live view window within capture one if you're on Sony and possibly Fuji I can't remember you might have to zoom it on the camera itself so because all we can do is read if you like the live view output that the camera is given and we can't control it in any way so you might have to physically hit the button on the back of the camera to zoom in but it's a really nice way to be able to nail focus another thing that you can also look at is the live view focus meter this is good if you're working with tilt and shift or if you want to check focus in a few different places simultaneously it says use this cursor tool here so if I grab that at the top of the live view window then I can put on say a focus window here and then one down here and the further the lines are across to the right the sharper the photo is so you can see around number one we've pretty much nailed that so if I just de focus this heavily for a second you can see now that meter drops right off so if I just dial this in using the middle one and then you see the let Lauren's lines spread around the outside that's giving me an indication of sharpness so I can see number one is really sharp number two if we put it over here that's also pretty good if I put it over here obviously it's falling off so if you're trying to optimize focus across a couple of different planes that's really handy as well so let's close those down I'm going to zoom back in to 100% what was I going to show you I can't remember let's just fix head blueberry again oh that was it depth of field preview available on some cameras so if we click on the DOF button up here so if i zoom out depth of field on depth of field off so that would just wrap the aperture to what my currently set aperture is which is F 3.5 so if I change this to F 7 and we look at depth of field then you see that changes much more now one thing you might need to do is turn off exposure preview so you'll see here imagine if I was shooting flash then my shutter speeds going to be you know 120 v f11 this is going to look black so what you need to look at for in the camera settings and you might find it here exposure let's have a look I can't remember what it's called or simulation exposure simulation there we go so if we turn that off disabled now it'll just be the correct luminosity so if I went to f/8 for example notice how it doesn't change turn on my depth of field tool and now I can see the effect of the depth of field again depending on the camera you might not find that works but the exposure simulation that can be really annoying working in the studio especially using live view if you're using flash with no modeling lights or whatever then it can be extremely difficult to see what and on earth is going on so look for something called exposure simulation symposium preview has a few different names depending on the manufacturer that you're using alrighty now another thing that you can use to help for your what so what I'm looking for layout sorry is the overlay tool so if I just bring up some just find them let's go to the right folder overlays here we go so an overlay can be JPEG or PNG file TIFF file raw file doesn't matter and what it simply means let's just reset the tool here so you see how it works is that you can superimpose an image on top of Live View and on top of the capture screen itself so if I grab one of my little P and G's here and P and G's are useful because then they work with transparency so if I drag that to the overlay tool then I get my PNG on top so I can bump up the opacity if I grab the pan tool here and move this around then we can move my overlay around I can make it obviously a bit bigger and then we can decide exactly how the cover whoops too big how the cover of capture one magazine should look so if you are needing to fit to packaging magazine or just a rough idea or working with anything else then that's a really sort of nice way to do it I just saw a note from Terry Fuji zooms in remotely so that's good news for Fuji I know early on it didn't work in terms of the frame rate of live view you'll see if I just stick my hand in depending on the frame rate of your webinar you see if I just want to adjust this slightly move it around that I get really nice real-time feedback now if I turn overlay off also what's quite handy in a live view of course is if I want to throw in a cheaply made reflector I can also see what that's doing with the modeling lights or if whoops reflectors into March so we can do little tweaks like that as well or if I want to put my food styling hat on and then add that's all where it's all gonna go badly wrong isn't it I stabbed it if I want to do that then obviously you can direct and see how it's going with your stylist as well that doesn't look too great actually this is where we're gonna get all OCD on ourselves there we go top of the blueberry fix that got a look got a reflector in like so so there's a couple of handy little uses for those Live View as well now let's just check my focus that I didn't totally screw that up so let's change my pan tool back to pan zoom in yeah I've nudged head blueberry a bit so let's tweak that wrong direction you can hit a of two but I think those middle of the camera or the AF point is not focused on champion blueberry there so that's it so loads of really handy useful features in Live View let's close that down let's just do another shot and then that looks good I can share my focus live yours and lying so that's perfect just looking at a couple of your questions Terry says Fuji does nicely that's good Jonathan was asking is the tether block compatible with an ARCA Swiss tripod plate I'm pretty sure it is let's bring it if tether tools if you're still watching give us a shout but I'm pretty sure on the one I have it does have the indents for arca-swiss but tether tools if you're watching let us know I'm sure it says on their product page tell you what I've got a link for the product page so we can put it in there champion blueberry car seat if it all says so he had tether tools please let us know if if that's possible does the focus mask work in live view it does not know so if you are using the focus mask so if I turn the focus mask on then you can see where my plane of focus is on champ blueberry as we say so you can see that but you can't see it like as a focus peaking in live view but then you can zoom in to 100% so do you really need it I don't know tether tool says yes it is there we go so we've heard from the horse's mouth so thanks for confirming that there is an ARCA version and an ARCA version I think Terry I saw was saying depth of field doesn't toggle for me is there an on/off can be camera dependent so you can always drop a note to support saying I have this camera model and this isn't working for me so you can always reach out to support there's loads of little minor differences between the two [Music] Augustine said the overlay I used here can it also be used for printing an image not obtained under tether mode another use for overlay if we just bring this up so that the comparison I've given here is if we wanted to you know shoot to a layout for example but if you're doing composite work then it's also useful for that so if you're shooting a product and a backplate then it's very handy to use those two together as well so just bear that in mind now when we come to export you cannot actually export the overlay as a layer on a PSD file so that can be also useful as well remind me if I forget to show you that okay so where are we are we have dialed in our lighting and we're pretty happy and everything so I think now obviously we can shoot for real so I'm going to go to shot one and say set as capture folder so now the little camera moves there and if we take a shot Oh before we do that I said I wanted to show you next capture naming this is kind of a personal preference so right now we're now going into shot one and the counter is at eight because we've taken eight shots so far now if you want to reset that to zero you can do so so we can click on here and say reset capture counter and that will take it back down to one now it depends how sort of OCD you are about always resetting the counter to one or if you don't figure the number is important as long as it's unique that's that's the main thing if you want to automate that or sorry shortcut it under file capture counter you've got various different options here so reset counter set counters increment and so on all of those you can put a shortcut on if you want to accelerate it a bit so we're now in the right folder so if we hit the capture button you can do so up here as well we're going to get our shot and everything is now again the same as before copy from last so all those adjustments I did to the last shot are copied over and I might just bring the whites down hollows down a tiny bit as well so again I've made a couple of edits when we take our shot click click like so then it pops in now speed wise obviously we can shoot from capture one if you're shooting people and not a thing there's no reason why you can't shoot from the camera as well so if I hit the shutter button on the camera then it pops in to capture one and don't be afraid to shoot quickly if I just bang a few off then we can get you know a bunch of shots coming in nice and fast now you'll see when you take a shot on the shutter button you see it has that orange ring pop up momentarily around it that's just showing you that there is photos being delivered over USB now cannon again another sort of difference only tells us hello capture one there is some photos coming but it doesn't say if it's one photo or ten for example sorry not for example differently to Nick on they can tell us hey capture one there's ten images being delivered to you over USB so you'll see ten little dots around the outside and they're moved down as more photos get delivered so again a slight difference all right so we're happy with our shot one I would think now at this point we might want to go through and pick some of the best ones out so let's think we've got a little gap there so if I turn on live view once more oops that's the wrong button so live view we can click that blue breeze just gone rolling across my desk I wanted to fill in that gap you know I do it I'm squashed equipment wheezes though but for demo purposes that makes sense and now we can close that and shoot another one and away we go look at that food stylist what it killed me for killing that poor little blue brick right so if I take a couple more out of the set of pictures here I'm going to go through and think well which ones are the best so we can see this guy popping up so what did we do right at the start we set up or do front smart albums like so so my first pick is going to be a green tag so I can either click here and say green and that will just mark it as a green tag or I can use a shortcut my shortcut for green is seven on the keyboard that's first on the numerical keypad on the left hand side so I can think what do we prefer one with bruised blueberry or do we like this one so I'm going to mark that green as well and the rest of these are kind of identical is its static so I'm just going to use have these two as my possible final picks we're worried about the rest later so for the next part of the demo I want to try and get a bit of action in there which is probably gonna end in tears but let's see how it goes Alan says do I get to eat the blueberries afterward II bet as I painstakingly made this earlier I'm just checking your questions can you change the focus point with capture one Leon was asking no it's it's not possible actually so you can change it in the camera but to be honest using live view in the live view controls I don't personally find a need for it but if I change the focus point on the camera and hit that AF button so let's say I'd put the focus point up here and here AF then it would of course pay F to that point as well so it does recognize it in that respect [Music] just checking over on Facebook and YouTube yes bill it has been recorded don't worry so you can always catch that okay I think we are covered oh okay that was a good question from Ray actually after fine focusing with capture one if it's autofocus the camera does refocus so that's a really good point Ray so what I did with the Canon is that on the shutter release I disabled half button process half button autofocus so now when I hit the button it does not AF I've still got it set on the back button but I've disabled it off the half press trying to remember if Nick on behaves slightly differently if you're tethered but to be on the safe side I always disable it because if I do want to quickly just reach over and hit the button and take your shot because sometimes if you fiddling on set and you change something you just want to fire a quick shot it's easier to do it on the camera then it is running over back to capture one but that was a good question well done I just saw bean town's comment further up I missed it says it's time for another haircut it definitely is and I've got one on Sunday so there we go alright so the next thing I want to do we're going to shift capture location again so we're gonna go to shot to right click and say said is capture folder you can make this a shortcut if you want so you'll see they're set as capture folder on the file menu and then also what I want to do as we did before is reset the capture counter so the crazy thing that I'm going to try and do now to get a bit of action in there is and is to show you a feature that you can do at live view so if we turn live view back on we can capture whilst live view is running on Canon and Nikon and I think on Sony got a feeling food yet it's not possible so I'm going to try and get some drizzly honey in there I need longer arms at the same time so we should be on the right you can just see there it is so I'm ready with command K on the keyboard and I'm going to attempt to do this look at the screen and then do a few different captures bit more honey oh I'm messing up the glass and see how we did with that so the good thing is if obviously you've got more hands or an assistant or you know your monitor is positioned better then you can have Live View running and shoot at the same time and they're just loading into capture 1 in the background so if I close live view down then we can see dear that I do a good job or not so there's one two three four and again with our culling process we can use the same situation or the same shortcuts again so actually the last one isn't too bad so I'm going to mark that green there's seven on my keyboard and let's pick one that's slightly less messy so if we were doing this for real I'd have to reset everything again so let's say maybe that one's okay and choosing my cursor keys to move through the photos and let's take that one so seven on my keyboard once more so that's if you like now my first picks and as I should have pointed out you can now see this is called fruit magazines shot too and our clock was reset our counter is reset rather and we shot into that folder so now if I go to first pix green tag this is going to show me all the greens across the whole session so regardless of what folder they're in this is going to show me all the greens from across the whole session so out of the two amazing shots that I just did so I've got the choice of this one or this one I think this one is a bit better as it just fills in that hole so I'm going to hit 5 on my keyboard to mark it as five stars now I'm going to go through the honey poor ones and think out of all of these which ones do we like best not my finest hour in terms of my skills of honey pouring so let's go for let's go for that one so five stars on that now if I go to the next smart album down here you can see I've got my two final shots now again if I was torn between which one of these was the best then I could go into this one let's say if we make that five stars and also that one five stars when I go back to this collection I've then got if you like the best out of those three and if I think really that one looks terrible let's get rid of that so I can zero this so if I hit zero on my keyboard it's now gone from that collection and out of these two once more that one's not super interesting so if I hit zero on this one now we're down to our final two so I feel this is much faster than having to drag and drop photos into the selects folder which we could do if you want it or we could drag these two in now if you want it but I just think it's nice to keep it super fluid all right so we're going to have a look at capture pilot I saw Miguel was asking and just checking the notes for the last things to do so the last thing we need to do is have a look at capture pilot obviously exporting as well because there's some cool tricks we can do for that and also in terms of backup and checking the time we're actually doing all right so capture pilot so let's just switch to a folder with more shot so let's go back to shot two and now in our capture tool tab you'll see the last tool down here is called capture pilot and what capture pilot is it's always a p-- bios app so I've got my iPad here which I can share the screen with you in a second and what that does is allow us to give just another way to remotely view the shoot and when I say remotely you have to be on the same network so my iPad is on the Wi-Fi network here and my computer here is on the wide network but they're obviously going back - the same Rooter so what I need to do in capture pilot is say start server down here at the bottom and decide which folder I want to look at now we can look at the current capture folder so that means this dude here the one with the camera icon so the current capture folder or you can decide on any of the other folders so if you only want the person viewing capture pilot to see all the final pics then you can control that from here but we're just going to go with the current capture folder now if we start up capture pilot there we go oh sorry I should really show it to you so you should be able to see capture pilot on my screen now now if you look at the top we've got fruit magazine as a local service so if I'd tap that then it will start loading up those shots from shot - as you can see now if I click on any of those so what's up that's number nine hang on let's go to number seven because that's the one on screen so you can see that on the iPad and just so you know I'm not cheating if we just bring me back so there's there's the iPad with that shot let's bring the iPad screen back so you can see now look at it star rating it and color tag at the bottom so if I click on this one then we could change the star rating if I wanted to or the color tag if we go over to what shots this this is number six so let's pick up number six and I want to mess with my star rating so I could change my color tag here change the star rating and notice that it synchronizes back immediately to the one that's in capture one itself now Anthony now so your question is capture pilot only for Apple products there's an iOS app for capture pilot but there is also the same app you can get on the web so if you look in the capture pilot menu you'll see here web it's got an IP address and that will just open a web page where you can browse rate and pretty much do everything that I can do on I pad except for camera control which you're going to see in a minute so any web-enabled device will work pretty much like this so it could be an Android phone it could be another computer it could be a tablet it doesn't matter at all but on the web works for any web-enabled device so if I click this little IP address then you can see it's opened up Safari and where I can go to this shot and then I can do the star rating and color tag like I did before so capture pilot works on the web too and Miguel that the only stipulation is that the iPad or the web enabled device has to be on the same network as your host computer it's only connected with the cable so it goes into the brawl card system otherwise doesn't make any difference it does not have to be connected to the computer okay now the others snazzy thing that we can do let's just clear that rating is that we've got camera control as well so you can see pretty much the same functionality that we had with in capture one itself so it's just the the little camera control that pops up in the corner which is pretty neat now speed wise in case you're wondering and one on the right yep shot to speed wise in case you're wondering if I tap capture then it's pretty much instantaneous and you can see it pop up in the capture pilot app and on-screen in the computer almost at the same time an actual fact it's pretty simultaneous simultaneous so again if you want to see how quick it is so here's the capture button might be able to hear the cannon behind me and where you go so that's also handy like if you're working solitary in the studio and you're messing around on the set especially something fiddly like this I've made a right mess now I haven't done something fiddling like this then you can work on set you know hit the button okay I need to move that reflector a bit or that blue Bri is in the wrong place or whatever then you can do so quite nicely using capture pilot as now this is a very topical question which a couple of you have asking can the client be far away at his office and watch the images in the web version if you know how to hack around a bit on your router yes but it's probably not something which is is easily achievable without a bit of kind of networking knowledge there is a little application called in grok ngr okay which is kind of gives you a funnel to do those sorts of things but again it probably needs a slight bit of knowledge to do so but I do know a few people have done it with those kinds of web tools but it's not something that natively built-in but it's it's a good idea can you disable the capture function yes so if you don't want your client saying how far I can take a picture isn't that fun if you go into mobile you can see all the options here so you can turn everything off if you only want them to be able to view it okay so if you want to disable rating color tagging messing around with the white balance capturing then you can just turn all of that mm-hmm vivek says do you mean that the computer and the iPad should be connected to the same network yes so the iPad and the computer must be on the same network now again if you want to do some kind of remote stuff then it requires you having a bit of networking knowledge hacking your router using a service like egg Rock to make that remote connection but it's not something that's natively available but yes don't worry Don if you don't want people taking shots where in the studio then yes you can definitely disable it and Matthew I saw on ask that question as well okay so we've done our amazing shot mmm I say amazing so we've got our final picks our last two shots now we want to be able to export them so let's talk about those I saw Pasi was asking what's the name of the network in grok in gr okay in grok it's basically a little app for testing iOS apps and web apps and so on and gives you kind of a virtual web funnel I'm not an expert on it probably neither is our support department so please don't bother the same those guys but if you know anyone with a bit of network knowledge then there might be able to help you okay so now we need to export so what can we do to make this process more efficient so let's just bring up our finder for a minute sorry let's go to this one so here so I'm just gonna put find out over here so we can kind of see what's happening at the same time and go to our output folder so when we come to export what we want to do is make this as efficient as possible as well so the idea of process recipes is that we can automate this to to some extent or to a huge extent actually and the idea of process recipes is that we can run more than one recipe at a time so we could have a tiff and a JPEG at the same time they can either go to unique locations or they can go to a centralized location and we can automate the creation of subfolders and a whole bunch of other clever stuff as well so let's take a scenario where first of all I want to have a full-size TIFF so let's make a process recipe that gives you a full-size TIFF so if I make a new recipe let's call this TIFF full-sized and the tool underneath this is where we define the parameters or settings for that particular recipe so I said I wanted TIFF let's do a bit sure that will be fine for demo uncompressed profile it's going to say the same and our scale is fixed to 100% so nothing fancy there and the output location is determined by the output folder so that's this guy here in our session so very simply if I was to select these two pictures hit the process button then pretty quickly they drop into the output folder like so so there there they are fruit magazine number 11 and number seven simple let's delete those and let's add something else into mix let's say I want to have a JPEG at the same time now one of our pre-built recipes will give you a JPEG that resizes the long edge to 2048 so let's activate that one so now I've got to process recipes running at the same time so let's hit process once more go back to the finder and oh well I've skipped ahead because I did something sneaky with those so my mistake I'm just gonna delete something forget you saw that because that's getting to the next stage so now we just got our JPEG and TIFF at the same time as I said let's clear out the output folder hit process and then now we've got our JPEGs and tips popping in as you can see so number 11 is a JPEG and ative JPEG and TIFF again fairly simple and straightforward now the only disadvantage here now in this case we've only got two shots so it's not a big deal to have them all in one folder but let's say this was a fashion campaign I'd done 10 looks and there was 30 shots and each look now we've got 300 shots all piling up in that folder that's not super efficient so let's get rid of that again and show you another trick so in the output location tool we've got a subfolder field where we can simply manually define the name of a subfolder if we wish or again we can use tokens like we did with our naming convention so if we click on this button I'm going to find the token that is called recipe name so this simply means grab the name of the recipe create a folder based on that and then put the photos in there so now we've just used one token very simple and once again that folders empty so let's clear that out and we've got our two shots and let's say process so now we've got a folder called JPEG 2040 for web use and TIFF full-size and our two shots there so that's just tidying it up a little bit nicer okay let's do something else which was the advanced thing that we snuck onto now again let's let's pick a scenario where we've done ten different looks again and we had loads of different shots the client might want to know okay we've got 300 shots here as JPEGs and tips but but what was that shot was that shot one was that shot ten well which look was it or whatever depending on your naming convention so in the file tab of each process recipe I can also set up a subfolder here now again your brains might be hurting a bit at this point because you might be thinking when there's also a subfolder tag here what's the difference well I explained the path capture one takes to build the final exports if you like so in the subfolder one here I'm going to click on this button and I'm going to choose one called session sub path which is a really weird name but what this simply means is look at the location of the photo I I am about to export and build out that same folder structure in the output folder so in this case it simply means make a folder called shop 1 or shot to super simple so we're going to put session sub path and say ok and we're going to do the same for our tiff recipe and we're going to say session sub path and drop that in there so now what capture one's going to do when I run a recipe it's gonna go okay capture one or David he wants me to use the the details in the output location folder so I'm going to go to the output location folder I'm going to make the recipe name and then I'm gonna go back and see if I need to build out anything do that and then process the photo so if we go to our output folder or once more and we click process now we've got our JPEG and our TIFF so under JPEG we've got shot one shot two and under TIFF shot one and shot - now that simple addition of adding that token automatically made me quite a few folders so if I had to do this manually sitting there doing an export process then I would have had to make one two three four five six folders now again if we multiply this to say ten different shots or ten headshots ten fashion looks ten products then it quickly becomes much more labor-intensive rather than letting capture one do it automatically so that is pretty cool now we can also apply the same logic to output naming now the way we've done our naming today is just to use the image name and as we already pretty much intelligently named our shots as they should be or in a smart way I know if I go to this one I know this is shot one and I know the number of it and I know it's a tiff and it's in a folder called full-sized TIFF so that's kind of a good enough naming convention but if I want to in the format there's nothing to stop me adding recipe name if I just start typing recipe I could add the recipe name to the image name itself it's getting a bit long then but it's entirely possible there's a whole bunch of tokens that we haven't got into so you could divide up photos by their star rating their color tag all kinds of different things there's a good tutorial on our learning hub smart exporting with process recipes shows you a few other options the last webinar we did on sessions we finish off by showing you a few different options as well so it's pretty awesome let's see what's ruies question I'm shooting for a cookbook we're doing five sessions there's only me the chef and the stylist and the designer and they see the images 4 ICAP capture pilots I use Ingrid to share the capture pilot web page to them good stuff so that's exactly what it's hopeful for there is a free version and a paid version brewery is using the free I think the paid version is maybe a bit easier to use perhaps but that's that's the idea it's I think slightly tricky to set up perhaps but Ruby says it's easy so there we go but yeah dig into it and see what you can do all right Terry was asking in the webinar is there a catch one library of the most common recipes I can choose from so we load up a few here but it's it's really simple Terry to make your own it's just + decide on the the settings for the recipe and then you've got various other things you can pull in as well as I mentioned when we were looking at overlays you can also export with the overlay as a layer but if you have a PSD file then it will do it as a separate layer so that's pretty awesome so if you want to you know you're sending the shot out to retouch and you've got the overlay then at least they're aware of you know titling packaging those kinds of things so just have a little dig through all those different things what about templates Jim was asking I'm just checked by note so we did export we did capture pilot so the last thing which kind of shows everything in love nicely is how not to have to repeat this process once again when you go back to do another shoot and the wonderful thing is is that we can save this as a template so if we say file save as template and this is the session template then I'm going to call this my two shot setup because this is just two shots so this also means you could save more than one template could have tons of templates if you like for one shot two shots five shots ten shots one for headshots one one for fashion depending how you're naming conventions are and we say safe so let's close this session down okay we're back in our studio the next day and we're going to do a new shoot so we say file new session today we're shooting for veg magazine funnily enough so let's choose that and right underneath I want to pick my template which is two shots set up here I'm still going in the pictures folder so let's say okay capture one kind of starts up in an instant first thing you're going to notice is that we've got our smart albums mate we've got odd three different folders mate now shot two is set at the capture folder because that's how it was when I saved the template so before saving the template just set you capture folder to the desired one if we look at this session in finder you can see we've got lighting test shot one shot two everything is set up if we look at our naming convention then we've got our let's just choose a collection lighting test if we look at our next capture naming if we expand this out so you can read it that's already set up as well I also believe I can't remember it will set what you had chosen in capture pilot too so there's a whole bunch of setup things that you will not have to repeat again so now you are simply ready to shoot certainly a few targeted lighting tests like I should have done then you're ready to go take a shot and then get going you've got all that that done correctly now of course once before you shot if you wanted to change the folders you could of course you don't need to update them and capture one so if I knew I was going to shoot I don't know shot one was going to be let's rename this to shot one was going to be carrots like so then you see straightaway it goes and updates in to capture one as well so that's a you know a massive time saver that it takes you to set up your session so I certainly hope you find that bit useful okay and the final thing that I wanted to show you let's just open up fruit magazine again it's gonna say open that there's often a discussion about back up what's the easiest way to back up can I back up to my memory card in the camera some Sony and Fuji cameras you can shoot to the memory card at the same time I don't think that's a particularly great way to back up because you won't have the naming convention you won't have the organization you won't have the star ratings and color tags and you won't have any adjustments in capture one so let's say we're shooting happily here kaboom my computer blows up and I say to the client I'm very sorry but we do have a backup on memory card but unfortunately all the selects you've made for the past two hours are lost and I need to re-import everything and get this all set back up again so I need you know an hour to do that and then you have to go through and pick everything again that's kind of a crappy client experience so to give you an example of how easy this session is to back up if we open an application called chrono sync and there's a few alternatives out there for mac MPC so I'm going to just use this simple setup assistant so I want to make a folder backup and I just need to select a source so I'm going to grab the top level of the fruit magazine session so I'm going to just grab that and stick that in there next step it's saying okay we need a backup destination so I'm gonna go to my little external hard drive make a new folder called fruit mag backup whoops needs my password okay it's put my password in fruit mag AG fruit mag backup and we're going to dump that in this window next step and we can want to back everything up you can synchronize deletes if you want if you're super careful but I won't bother just for this time and we can give it a task name and create tasks so there we go so now all I have to do if everyone I backup this session press this button now this is going to be relatively quick because it's an SSD drive it will scan the file bang through all the shots that we've done and jobs are good in so now if we look at my SSD drive I've got an exact an exact replica of that session so kaboom if my computer blows up then we are ready to pick up exactly where we left off now the way this backs up is intelligent so as we shoot more shots it doesn't copy the entire data workload session again all it does is copy the new stuff so that's super handy now to prove a point if I close this session down if I go to my hard drive and pick up this and just double click this is the backup that we just made everything is absolutely identical as it was before now as I said you can shoot your memory card on Sony in Fuji I still maintain that's a really low low low grade low quality backup solution using an application like chrono sync will get you up and running in snap your fingers no stress to you no stress to the client job done easy peasy so that was it so I think we covered pretty much everything that you might want to do on a tethered shoot there's kind of an older legacy menu up here called camera with a couple of options and here you might be interested in the first one here composition mode extreme caution which is why it puts these symbols over the top what that does means that whenever you take a shot it overwrites the previous one so it's kind of designed like my lighting test folder but if you shoot 50 shots you're only end up with one so it overwrites everything previously now that was fine when maybe hard drives were smaller more expensive now I think I'd rather have the security of not overriding so if you accidentally leave composition mode on then you gonna be really unhappy and so it's your client auto-select new capture that just simply means how quickly should capture one show it on screen again that was for slower computers but now as capture ones got faster computers better it's kind of an old old reason to use it pause can be quite handy you can say never which means if you're shooting and you don't decline to be peering at the computer watching images come in you can say don't show new captures the viewer will just be static on the last chosen photo or you can also pause as an option as well orientation I forgot to cover it in live view I think I don't think I mentioned it so just to be sure if I didn't so under live view controls orientation so landscape and portrait you can also control it here default uses the cameras sensor now 99% of the time that works fine but if the camera is overhead like you're shooting folded fashion or flat artwork sometimes it can get confused and it will jump around or it won't be set to the right orientation so here you can just choose exactly the orientation that you should have or default uses the cameras sensor okay that was definitely the last thing to mention finish off with a few more questions Chronos Inc does it work for catalogs and sessions it works for anything it's literally it's a very intelligent program I literally showed you a demo of it in its most basic form but it can backup anything from any source it can synchronize folders across a network so if we had an another Mac in a different location and we wanted the session to be synchronized across the network to that Chronos thing could do that for you as well it can make bootable hard drives it did tons of stuff essentially I just picked it up on on a trial but I think it's relatively inexpensive for what it does Pawel regarding your Nikon remote I don't know I would drop a note to support and ask them or also Nick on as well Jorge was asking capture one will never copy the files to tether and the sea of cards it does but it's camera dependent so some sony models some fuji models but not for canon not for Nikon and as I maintain ChronoSync just blows that kind of solution out of the water let's see okay I think we are pretty much there let's see that's a good question from June can you use your do you have to use your internal hard drive or can you use an external hard drive absolutely nothing wrong with shooting to an external drive just bear in mind the performance of that external drive I could shoot to my external SSD as quickly as my internal there's no difference in performance if you had some ancient cranky old USB one hard drive it's gonna slow it down is there additional risk probably not in this DNA day and age should you back up to another external hard drive yes you should so can we set the back spacebar to shoot the camera or I don't know shall we try I don't think you can assign the spacebar so capture so let's try it so if I hit space you know you can't assign this baseball I'm afraid but that would be a good little job for a device like him I've got something called a stream deck which I use for no changing the views on the cameras but it's basically a USB device where you can assign buttons to do certain macros so something like that you could use you've got capture pilot as well or you could just do a single key press if you don't want to do the combination key press so by default camera if I just wanted to you one key if I have a spare one that I could do so I'm just so used to doing come on K but good question though really why not time machine well you could use time machine but that will trigger or every hour whereas if you want kind of to be in the driving seat of how to do it then chrono sink is really much easier and also you're specifying a destination which doesn't necessarily have to be your time machine disk but remember time machine will only kick in once an hour you might shoot a hundred shots in no time at all so then you've got to manually remember to trigger Time Machine which you could do as well I just think chrono sink with its ability to synchronize deletes as well could be really nicely Oh cry no sink mirroring works better than backup there we go good tip from Travis so in chrono sync when you have different options we've got synchronised two folders I guess that's probably what you're suggesting I would say so but very powerful and very simple to use let's see can i how can i restore the crop changes made in a frame to the next picture oh you might find that check in adjustments clipboard under auto select you might find it has adjusted except composition so adjustments clipboard to click on the little three dots and go for adjusted except composition by default we ignore the crop so i've got mine set to adjusted which is why my crop would come across good tip from tether tools as well also a great app i use carbon copy cloner again very similar to ChronoSync there's lots of choice out there as well and auto says how can convert to DNG when importing i don't know why you would want to do that there's no benefit to converting a DNG when you import into capture one it's not like you can export the DNG with adjustments for another application so perhaps it's one of his options which isn't really necessary okay capture pilot question from Matthew in the webinar are images saved on the iPad no they're not so if it's like a client's iPad or something like that it is not saved so it's perfectly safe as well Oh what does this mean the hot folder enabled let's say you can't shoot tethered to capture one it's not supported so I saw a couple of people asking about Panasonic so if Panasonic makes an app that allows you to tether what you can do is say to that app load the pictures into the capture folder and then if you have hot folder enabled then capture one will behave as if it's native support so if I make an adjustment when I do another capture and that arrives in capture one capture one will pick up the previous capture adjustments so that's the point of the hot folder enabled okay great I think that's it and I totally lied or I was honest that I say wouldn't be 60 minutes but there was a lot to cover and he was some really good questions so thanks for being a good attentive crowd today and stick in the distance with me on this quite long webinar Oh last question from Tim I couldn't find the exposure simulation for the auto adjustment of live view where can I find it depends on the camera often buried deep in a hideous menu system somewhere and but just google your camera model and you'll probably come up with it Fuji it's called something else Canon it's called something else it's yeah it's a it's a tricky that it's all called something else all right thanks guys for joining us today and I hope that was useful the recording will just be straight on to YouTube so if you all want to watch it all over again then you can do so so the youtube link in the webinar room is now active so you can just go and review that at your leisure what I'll do is tomorrow I've add chapters to YouTube new YouTube feature and divide up the recording into different blocks so you can fast-forward to the relevant section thanks everybody and see you all again soon enjoy the rest of your Thursday bye now you

Channel: Capture One Pro

Views: 49,800

Keywords:

Id: OMk-1O68KEI

Length: 95min 45sec (5745 seconds)

Published: Thu Jul 02 2020